Release Date: April 23, 2021 Genre: Metallic Hardcore, Melodic Hardcore, Mathcore Label: Metal Blade Records / Blacklight Media Records The Lafayette, Louisiana metallic hardcore quartet Capra have readied their immensely hard-hitting debut album, In Transmission. The band, comprised of vocalist Crow Lotus, guitarist Tyler Harper, bassist Ben Paramore, and drummer Jeremy Randazzo, take you on an unsparing, adventurous ride with their unique blend of the metal, punk, and hardcore genres that moulds their sound together. In Transmission was produced by Jai Benoit, mixed by Taylor Young, and mastered by Brad Boatwright. The album, predominantly recorded in December 2019, except for three tracks, leading the band to finish the recording during the pandemic lockdown. Capra was formed in 2016 by Harper and Randazzo -the two had previously worked on numerous projects together. Harper, fresh out of a ninety-day stint in rehab, wanted something new to focus his mind on. The duo’s goal with the inception of Capra was to create a band that would be fresh and unique, but the intention to give listeners a nostalgic spin to the sounds of the late 1990s and early 2000s era of hardcore and punk. Since establishing the band in 2016, the band has seen a few line-up changes, barring the addition of Lotus and Paramore, Capra would not be on the path they’re on today. Capra’s In Transmission begins with an intro piece titled, “[Exordium],” filled with distorted guitar and effects getting you ready for what insanity is about to come on this record. The intro swiftly changes into the chaotic and aggressive first track, “Hollow Doll,” setting the pace for the remaining tracks. Following is the frenzied lead single, “The Locust Preacher.” The song was one of the first songs written by Lotus and tackles her own experiences with sleep paralysis and night terrors. The lyrics, “Cover the mirrors, I don’t want to see,” details a time when Lotus would cover the mirrors in her bedroom before going to sleep every night in fear that she would see a person or creature in them. Another line in the song, “I can’t keep holding on, but God help me if I try to let it go,” describes her attempts to stay awake all night and the fear she would be in if she would let herself become tired and go to sleep. On the musical side of things, the band’s impressive songwriting, unorthodox time signatures, and use of different genres are on full display, leading the track to take many twists and turns along the way during this extraordinary two-minute and fifty-three-second tune. The chuggy guitar-riddled number, “Torture Ship,” comes from a dark, personal place. Lotus initially began writing the lyrics to “Torture Ship” in the midst of a mental breakdown. While she was facing which way she should commence the healing process of a personal trauma she endured. In the song, Lotus wanted to express how it felt to accept making the steps to change herself, how excruciating growing pains can become, and detail how growth is one of many significant processes humans can endure -often ending up stronger as a result. The following track, “Paper Tongues,” continues full throttle, taking the blinders off to shine a look at the tumultuous relationship Lotus had with her mother while growing up -thankfully which they have moved past- but has unfortunately left a perpetual effect. She describes a monster in the song, which is a metaphor for her mother’s temper. On the sludgy and equally thrashy track, “Mutt,” Capra displays an angrier, more aggressive tone unlike the first half of the album, looking to get an important message across. Closing out the band’s whirlwind debut album with a massive bang is the album’s second single, “Samuraiah Carey.” The closing number comes with breakneck speed and untamed aggression that will leave any listener turning their heads looking for even more music from Capra. Capra is single-handedly redefining hardcore, and it’s demonstrated on In Transmission. While the band identifies as metallic hardcore, the band has created a unique hybrid of elements from hardcore, thrash, punk, and mathcore -that blend themselves into something fresh for the hardcore genre. Beyond the music, the most outstanding traits of In Transmission are found in its relatable and impactful lyrics. Lotus aims to give a voice to the people around this globe who are frequently overlooked. Lotus -both a woman and a child of an immigrant- has been drawn to the idea of sharing and showcasing the stories of people who come from different hardships. These people deserve to be heard rather than silenced. Capra layout one of these themes with the ninth track, “Red Guillotine.” Lotus tackles the inexcusable tribulations women still have to face in their everyday lives. Lotus speaks profoundly on the constant of being told how to live in a way that pleases other people with no regard for your well-being and how women are reprimanded when something awful occurs to a woman, after ignoring the impulse to preserve their safety. She wants other women to know that she stands with them and that she hears them, and she will do what she can to amplify that voice. Check out more from Capra: Facebook | Twitter | Instagram | Bandcamp | TikTok

Release Date: May 14, 2021 Genre: Indie Pop, Pop Rock Label: Arista Records The 22-year-old indie-pop artist Taylor Upsahl, or better known by her stage name UPSAHL is back with the release of her brand new single, "Douchebag." After the release of a few singles since her sophomore EP, Young Life Crisis, "Douchebag" is the lead single off her forthcoming debut album, due out later this year. Taylor first made waves with her own music in 2019 with her debut EP, Hindsight 20/20, that also released alongside her first major single, “Drugs.” This set off for an eventful 2019 for Taylor with a spot on the 2019 edition of the massive music festival Lollapalooza and went on tour supporting a barrage of acts that includes Pvris, Young the Giant, Max Frost, Broods, and Joywave. This all lead Taylor to have some wildly interesting experiences for her songwriting. She went on to co-write the track “Good In Bed” for Dua Lipa’s chart-topping 2020 sophomore album, Future Nostalgia, and writing music with many fellow pop artists among Anne-Marie and Madison Beer, to name a few. In the fall of 2020, UPSAHL released her much-anticipated EP, Young Life Crisis. Following its success, and finding some exposure on TikTok, the EP was re-released on December 15, 2020, with an additional sixth track, "Arizona." While still riding the wave the EP brought her, in the first five months of 2021, UPSAHL has released a non-album single, "STOP!" and has been a featuring artist on singles by Linkin Park's Mike Shinoda, Dreamers, and Feder. Musically, the song is in the same vein as the songs featured on Young Life Crisis and begins with subtle clean guitar chords and Taylor profoundly chanting, "You're a douchebag." Shortly after, synth bass and drums burst into the track to take it on a more pop-rock path -in casual UPSAHL fashion. The song leaves you with an itch to be replayed with its hooks, harmonies, and melodies, during it's short two minutes and twenty-two-second length. On the lyrical side of "Douchebag," Taylor opens up about a messy breakup in the song's openly honest lyrics. The lyrics are a bold middle finger to somebody who has cheated on you. It also serves as the first taste of what yet is to come from Taylor on her debut album that will take you on an emotional rollercoaster that she went through that inspired the song's on the soon-to-be-released album. Be sure to check out more from UPSAHL: Website | Facebook | Twitter| Instagram | TikTok

Release Date: May 21, 2021 Genre: Hardcore, Post-Hardcore Label: Independent Witchita's hardcore outfit Revisionist formed in 2016 to accomplish one thing, and that one thing was to write music that was honest to them and devoid of any gimmicks. The band honed their craft and centered themselves around an early 2000s hardcore/metal era sound. Which was first displayed on their 2018 debut album, Culling. With their new EP, The Emptiness of Gravity, the band incorporates some new elements the band has yet to try out until now and adds new dimensions to their sound. Revisionist's new six-song effort was recorded at Rio Grande Studios in Albuquerque, New Mexico, with music producer/musician Aaron Gillespie. Known notably for performing in the bands Underoath, The Almost, and Paramore. Revisionist is made up of vocalist Eric Martin, guitarist Joshua Barbee, bassist Max Abood, and drummer Joshua Peavey, some of which are former members of the bands The Gentlemen Homicide and Take it Back!, the four members have accumulated over a decade of experience before forming Revisionist to achieve their goal to take music back to a more "simpler" and "purer" time. The Emptiness of Gravity EP opens with the track, "Violence Golden." The track begins with some type of buzzing sound, then the song eventually erupts into a melodic hardcore number that stays true to Revisionist's goal to make simpler, pure music without any gimmicks. Following is the EP's lead single, "Half Moon." It's a sure standout on the EP. The song, which introduces clean vocals, is one of the new elements that the band has now begun to incorporate into their evolving sound. The song's clean vocals have a similarity to Of Mice & Men and Dayshell vocalist Shayley Bourget. "Half Moon" leads the band into a post-hardcore direction with its introduction of clean vocals, slower tempo, and sluggish bass solos. With the second single, "Deathbed Kings," the members of Revisionist tackle mental health, more so the people that have chosen to close themselves off to the rest of the world and live in fear due to the global pandemic. However, the band wants to share that there is some hope. Musically, "Deathbed Kings" shares some traits of the previous track but is notably heavier instrumentally and features Martin using a whiny-type of emotional screaming to convey the song's message. "Panic Burn" is undeniably groovy with its guitar riffs throughout its four minutes and features choruses that have the use of harmonized vocals. On the EP's fifth track, "Wasteland Dreams," the band change it up once again, sort of compiling all the elements previously heard on the EP into one collective track, but with even groovier guitar riffs. The final track on The Emptiness of Gravity run's just shy of four minutes and incorporates some electronic elements and the use of vocal effects. But it's roughly the final fifty seconds of the song that truly matters, delivering one of the heaviest musical pieces on the entire EP. Closing it out with a huge bang. Check out more from Revisionist: Website | Facebook | Instagram | Bandcamp

Release Date: May 21, 2021 Genre: Alternative Rock, Pop Rock Label: Independent The London/Los Angeles alternative rock trio Charming Liars has independently released the first of a slew of upcoming releases. The first being their brand new EP, Sequence 1: Noise Maker. The EP follows their 2019 debut album, Thought, Flesh and Bone, its acoustic EP, Bare Bones, Live 2019, and second album, Sounds of 2020. The EP is the first in an upcoming series of releases, and the EP features the band's latest singles, "Pieces" and "When Did We?" Charming Liars is made up of vocalist Kiliyan Maguire, guitarist Karnig Manoukian, and bassist Mike Kruger. Manoukian also self-produces the band's music, which includes their new EP. Charming Liars first began in London with Manoukian and Kruger when they were just teenagers. Both of which were into wide-ranging musical tastes that formed their initial approach to making music together in many different bands in the United Kingdom. However, the two decided to relocate to Los Angeles in 2013 after songwriter and producer John Feldmann (Panic! at the Disco, Plain White T's, 5 Seconds of Summer, Blink-182) expressed interest in doing a songwriting session if they ever found themselves in Los Angeles. Sometime after their move to Los Angeles, they connected with Maguire through a mutual friend who was attending The Musicians Institute in Hollywood, California, leading to the eventual formation of Charming Liars. Sequence 1: Noise Maker opens with the infectious and electric single, "Pieces." The tune starts with a drawn-out strum of the guitar and Maguire belting the lyrics with his powerful vocals. Behind the track's powerful alternative rock showing, the lyrics of the song touch on a much more serious topic. Charming Liars tackle the division seen among people all over this planet. The band amplifies the pain and feelings associated with the shattered reality we've unfortunately still see to this day. The second song on the EP is "When Did We?" and the band does some introspection. "When Did We?" captures what it feels like to age from the inside out. When the skin on your face stays the same, but the light behind your eyes starts to flicker. The song begins with some electronic music pieces before turning into another alternative rock track that's sprinkled with hints of pop instrumentalization and melodies. The final song on Sequence 1: Noise Maker is the pop-rock anthem "White Leather Electric Chair." The song is the most infectious and most poppy track on the EP and leaves its melodies lingering in your head before the tracks outro string orchestration plays out. With their first scheduled music release of the year now released, Charming Liars are readying even more music as I type this. With the new set of tunes, the band delivers a fantastic blend of alternative rock and pop-rock. The tracks will leave you singing along in record time. The three songs give off a mix of an intriguing intertwining of styles from bands like Thirty Seconds to Mars to Bad Suns, and of course, others. Fans of these new songs can catch Charming Liars live this December when they hit the road with The Hunna. For more information on tickets to the upcoming tour dates, be sure to follow the link to the band's website below. Check out more from Charming Liars: Website | Facebook | Twitter | Instagram

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE.

Release Date: April 23, 2021 Genre: Pop Rock, Pop Label: Nullify Productions With warmer weather slowly embracing us day by day, producer and songwriter TJ Courtney, better known professionally and musically as TJ3X, has released his new upbeat, energetic, and infectious summer-filled single, "Silver Ray." With the help of singer Robbie Rosen providing his talents on the single, the two bring the impending Summer weather directly to your ears through a lovely themed track about embracing who you are and whatever makes you happy. "Silver Ray" will likely see its presence on many upcoming summer playlists. "'Silver Ray' is about embracing who you are and whatever makes you happy, regardless of any outside forces that are trying to drag you down," shares TJ3X mastermind, TJ Courtney. "It was a good distraction to work on something so uplifting during quarantine and with such a talented singer. Robbie’s vocals really made the track come to life." More about TJ3X: TJ Courtney grew up idolizing grunge and '90s alt-rock icons while also coming up to appreciate songwriting masters like Ryan Tedder and Alex da Kid. This blend of influences is apparent in his collaborations under the songwriter/producer moniker TJ3X, an extension of Nullify Productions. Past projects as a producer, songwriter, and engineer have included performances by Taylor Hawkins (Foo Fighters), Chris Chaney (Jane’s Addiction), Rudy Sarzo (Ozzy), Robbie Rosen, Stefano Langone, Joe Cardigan, Hylynd, The End of America, LUNA AURA, Chloe Gendrow, Kingsley, and more. Check out more from TJ3X: Website (TJ3X) | Website (Nullify Productions) | Facebook | Twitter | Instagram Check out more from Robbie Rosen: Website | Facebook | Twitter | Instagram

Blues rockers Tyler Bryant & The Shakedown just released their fourth album, Pressure, on October 16th. The new album is a great mix of songs that elevates their song-writing skills and will satisfy long-time fans of the band as well. I had the pleasure of interviewing lead singer, songwriter, and guitarist Tyler Bryant himself about the new album and how it came about. What was the first time you experienced a huge sense of accomplishment while playing the guitar? What was the moment that made you think, “Hey, maybe I’m doing the right thing for me”? TB: The first time I jammed with Jeff Beck on stage was an incredible moment for me. He was someone that I looked up to from day one, so getting to jam with him definitely helped me re-assure myself that I was on the right path. If there was a dream tour that you guys could be a part of, what would that tour look like? TB: I would love to get to tour with The Rolling Stones. They’re one of my all-time favorite bands. I can imagine geeking out on blues records with Keith Richards, for sure. What song or songs off Pressure are you most excited to try out live once you’re able to tour? TB: I can’t wait to kick off a full-on Shakedown show with the title track. It will be insane. I’m really excited to play most of them, honestly. I think “Like The Old Me” will be a special song during our show. What song on Pressure was the hardest to finish? TB: “Loner” was easy to write but put up more of a fight than the rest of the tunes when we started tracking it. All in all, I’m glad we fought for it, though. The track “Like The Old Me” feels like it comes from a very personal place. Can you speak on the subject matter of that song? TB: I kind of wrote that song without even realizing it was happening. I think I’m still trying to figure out where it came from. When I sing it, I have my own thoughts that I attach to it. When I listen to it, different thoughts come to mind. All in all, I think it’s the story of someone that lost something that was important to them. The quarantine presented a perfect opportunity to have your wife, Rebecca, do vocals on “Crazy Days.” Was it a plan for the two of you to record together at some point, or was it a spontaneous decision? TB: When I originally wrote the song, I played it for her and asked her if she would sing on my demo. She did just that, making it impossible for me to be able to hear that song without her voice. It’s just too good. I’m very lucky that she sang on the record with me. What song from the Tyler Bryant & The Shakedown catalogue do you feel has been largely overlooked by the fans as being one of your best? TB: I think “Couldn’t See The Fire” is one of my favorites to play and sing. Something about the way that the melodies and lyrics work together gets me right in the heart. Many of the songs on Pressure have a certain feel to them that could be viewed through the context of the current pandemic, where there could be a loose theme of dealing with stress and isolation. Was there a conscious intention to capture this moment in time or did you just write what you were feeling? TB: Some of the songs like “Pressure” and “Holdin’ My Breath” were actually written before the pandemic. I guess we rubbed the crystal ball just right. [Laughs] In all seriousness, I do believe that our situation heavily influenced the intention that we recorded each song with. We used the recording process to escape to our own little world, but we couldn’t ignore everything that was going on. What or who inspires you? TB: Tom Petty is one of my biggest inspirations. Every time I listen to him I hear something new that motivates me. He was just the greatest. What artist do you listen to a lot that you think your fans would be surprised about? TB: Guy Clark, Townes Van Zandt, or Tom Waits. These are three of my all-time favorites. They are all three master songwriters. I listen to them all the time. If restrictions are not relaxed shortly and the touring industry is still unable to restart, is the plan to begin writing and recording the follow-up to Pressure, or just take it easy for now and rest on your laurels? TB: Taking it easy is something I rarely do at this point in my life. Making music makes me happy, so as long as that’s the case, that’s what I’m gonna keep doing. I’d love to keep making records until the world starts spinning normally again and we can all get together on the road! What is something you wished people asked in interviews but never do? And the answer to that question? TB: Maybe something like… “Would you like a snack?” My answer would be, “Yes.” Be sure to check out more from Tyler Bryant & The Shakedown at: Website | Facebook | Twitter | Instagram

After overtaking the internet as the third-biggest TikTok star and #1 Asian-American influencer in the world, today Bella Poarch announces her signing to Warner Records and drops her debut single and music video “Build a Bitch.” Bella delivers an empowering message through a wildly original brand of dark-pop, making her introduction as an artist with a one-of-a-kind vision and the talent to see it through. Listen to “Build a Bitch”—HERE. Watch the music video for “Build a Bitch”—HERE. Brought to life with the help of producer and songwriter Sub Urban, the song’s soundtrack-worthy production brushes up against her clever and catchy verses as she promises, “If you need perfect, I’m not built for you.” In crafting the unapologetic lyrics, Bella drew directly from the constant scrutiny that comes with being a massively popular social-media star. “‘Build a Bitch’ is about accepting yourself for who you are instead of listening to other people’s ideas of what you should do or how you should look,” she says. “I hope it helps people to feel more confident and good about themselves, and also reminds them not to judge anyone else.” The accompanying music video – written by Bella and directed by Andrew Donoho with creative direction from Sub Urban – focuses on a Build-a-Bear-style factory where men line up around the block to construct their ideal woman. They’re in for a surprise as Bella falls off the conveyor built, makes herself into a Lara Croft-style avenger, and frees a bevy of influencers to rewrite the narrative once and for all. The clip notably co-stars ZHC, Valkyrae, Mia Khalifa, Dina, Sub Urban, Bretman Rock, Rakhim, and Larray. Stay tuned for much more to come from Bella Poarch. About Bella Poarch: Infinitely fascinating and unpredictable, Bella Poarch is a true force of nature. Not only the world’s third-biggest TikTok star (with over 65 million followers and counting), the Filipino-American is a U.S. Navy veteran, gaming icon, anime obsessive, lifelong singer, and burgeoning songwriter who’s created countless home recordings based on her emotionally raw lyrics and self-taught ukulele skills. Originally hailing from a tiny farm in the Philippines, Bella first discovered her vocal gifts as a little girl and started performing despite her parents’ disapproval. She enlisted in the U.S. Navy at 17, where she proudly served working on helicopters and jets across the States and Japan, and ultimately landed in Hawaii after her contract ended. She now holds the record for most likes on a TikTok video – an August 2020 post that’s surpassed 50 million likes – and by September 2020 she’d moved to L.A. and begun meeting with multi-platinum music producers, soon inking her deal with Warner Records. Now, with her debut single “Build a Bitch” and more music to come, Bella Poarch delivers her own dynamic and diverse brand of dark pop sure to turn heads. Check out more from Bella Poarch: Instagram | YouTube | Twitter | TikTok

Shortly before the release of their debut album -!- (The Exclamation Album) on March 12th, I picked the brains of guitarist Jack Collins and vocalist/guitarist Jack Underkofler to talk about various aspects of the album and what’s been keeping them busy this past year around the recording of the album. Let’s just jump right to it. You’re set to release your debut album, -!- (The Exclamation Album), on March 12th via Spinefarm Records. What does the title represent? Collins: When we were trying to come up with an album name, nothing was sticking. Will threw the idea out for this symbol, and we immediately just agreed to it. We felt like the songs were so different from each other that no words could tie them together. The symbol just feels like it explains what it’s all about. So all of the guitar performed on the album was played on a beat-up, battered seven-string guitar that went through hell over the years? Collins: Not all of the guitar. But most of the standout riffs. It’s sort of our weapon for creating this mood that I think we’ve created. It’s like this grindy, slothy, but also an uncanny vibe that we’re so attracted to…There are a number of bands that use bends and seven strings, but we do it differently. I think our fans understand. You guys didn’t let yourselves get pigeonholed into one specific genre, and the album drifts all over with various genres. You set out with the intention to deliver an album “to make someone feel something they haven’t felt before.” I do believe this is true. Is there a specific reason you dabbled in many different genres on -!-? Collins: Thank you. Definitely no specific reason. It’s just the result of four overly opinionated, overly trained musicians [Laughs]. Any time there was a song that sounded too much like a previous one, there was just no buzz in the room. The only way we stay excited is if we’re basically flipping the switch over and over in our writing. Just when we think we’ve landed on a “sound,” someone comes up with something completely out of left field that gets us hyped up again. Do you have a striking memory from writing or recording the record? Collins: This would be different for each of us, I think, so I can only answer for myself. For me, I think it was when I came up with the riff for “.SALT.” I was either super drunk or high in my room late at night, and all of a sudden it was like something injected this riff into my brain. When I feel a riff coming on, sometimes I become so insanely emotional it’s hard to control. My heart races out of control I start to sweat. I recorded it right away and threw on a drum beat, and it felt like someone else was telling me how to do it. Those moments for me are insane. The most unexplainable energy you’ve ever felt. You guys are quite influenced by the rock band Badflower and other bands who touch on mental health in their music, something you touch on in many of the album’s songs. Is there any particular track that was hard to write because it was too personal? Collins: This would be best answered by our singer since he wrote the majority of the emotional lyrics, but we’re lucky that we invest ourselves just as much musically as we do lyrically when writing music. Every single one of us has some sort of anxiety disorder, so we’re basically a walking train wreck. It’s interesting when you’re writing lyrics you think you’re trying to just make something work technically with the way it sounds, but really you’re just waiting for the moment that this other-worldly voice comes into your head and blurts out what you’ve been trying to say your whole life. So for me the lyrics in “loveyoulikethat,” “It’s midnight and the screaming isn’t doing us good, you say that you love me but you never could,” was that. I didn’t write them down and re-analyze them, they just came out in half a second. Afterwards, I realized they were about all of my past relationships, and I’m usually extremely emotional when I listen to it now. Do you have any favourite songs off the album? So even any you’re looking to perform live in front of an audience, whenever that might be? Collins: I can’t fucking wait to play “lovemelikeyoudo” live. That one is hated by so many of our friends cause of how out there it is, and I can’t wait to see people’s reactions after we play it for them. Especially for people who’ve never heard of us. Plus we have some pretty insane ideas for how to perform it live. I take it that you’d never imagine having your music used in fourteen television shows and commercials? I certainly would say, “I never thought, “My music would be featured on Keeping Up With The Kardashians,” if I was a musician about to release a debut. How does it feel to get so much exposure with these latest singles? Collins: This question is a bit misleading. You may have found this on one of our old bios, but that never led to anything much for us. We need to remove it from the internet [Laughs]. But the fact that our songs are getting so much noise in press and on streaming platforms is pretty insane. I flipped out a few years ago when I saw we had seven thousand streams. Now we get over a million a month. So I’m reading you guys have many hobbies to stay busy with outside of music -probably more than ever during this last year. Those being surfing, learning/researching about space, and can’t forget video games. Being based in Los Angeles, I take it you can get a lot of surfing in? Collins: I’m the main surfer in the band, but Dylan also picked it up pretty fast last summer. I think the rush of surfing is so similar to the rush of performing live. The process is similar: Hurry up, wait, be calm, and then a burst of adrenaline. I surf pretty much every day living here in SoCal. I would have lost my fucking mind with this pandemic if I didn’t have it. I don’t know if you’re an Xbox or Playstation person -and I’m not one to judge what console one uses. I play a bit of both myself, but I got an Xbox Series X in the fall and have been playing as much as I can get in. Your go-to games are the Battlefield, Call of Duty, and the Kingdom Hearts series? Do you have a particular favourite? Playing anything other than that lately? Underkofler: Lucky you, I’ve been trying to get my hands on one still. I play Battlefield and Warzone quite a bit. Dylan is the Kingdom Hearts guy. I’ve been replaying Cyberpunk in my free time, but it’s honestly painful with a first-gen Xbox One [Laughs]. Hopefully, this album blows up so I can buy a marked-up Series X. Honestly, the whole reason we’re doing this album. What is it about space that is so intriguing? What are your thoughts on companies like SpaceX, Blue Origin, and Virgin Galactic working on the possibilities of space tourism? Underkofler: It’s just the ultimate grand scheme. It’s about as big a picture as you can get and that fascinates me. When you look up, you are literally looking at every possibility ever. The vastness is only limited to your imagination and the laws of physics. The possibility of life, our future as a species, the endless well of new understanding, what’s there not to be fascinated with? I am a fanboy of all these companies and I feel very fortunate to be living in this time period of privatized space because it allows such a rapid pace for innovation and development that there’s always something new happening and something to go “Woah, holy fuck” at. If there’s an affordable ticket to space I will be the first customer. Finally, before you go, what is one thing you want listeners of the album to take away from it after they get to hear it in full on March 12th? Collins: That this is just the beginning for us. The next shit we make is going to be even more insane, and you won’t be able to predict it. Our band is less of a sound than it is an idea. Fuck rock music and what it’s been for decades. We’re fucking tired of it. We’re only gonna make things we feel we need to say, and we’re never going to entertain you with bullshit stock rock music. Check out more from Dead Poet Society: Website | Facebook | Twitter | Instagram

Recently, I spoke with Alex Webster, the bassist of the legendary death metal band Cannibal Corpse. The band will release their fifteenth album, Violence Unimagined, on April 16, 2021, through their longtime label Metal Blade Records. Alex and I discussed a few different topics touching on the new album, the addition of Erik Rutan to the group, and how they confronted recording a new album in the middle of a global pandemic. Let’s rip the band-aid off. What is the meaning of Violence Unimagined -the title of your whopping fifteenth studio album? Who came up with the title? Paul came up with the album title. I like to think of it as something that sort of sums up our band’s lyrical and musical approach. Also, it might pique the curiosity of the listener. For a band with fourteen previous albums that all feature graphically violent lyrics, what could be left that would be “unimaginable?” You’ll have to check out the album to see! Was it a challenge recording a studio album in the brunt of a global pandemic? For the other four guys in the band it was probably not all that different but since I live on the other side of the country these days I did have to do things differently this time. Since cross-country travel wasn’t advisable at the time of the recording session [from] April through June 2020, we decided I should record my bass tracks at my home studio rather than in Mana Studios with the rest of the band. Fortunately, I have some experience in this area, and also good technology like “re-amping” exists, so we were able to get a bass tone that was just as good as if I’d been down in Florida with the rest of the guys. The lead single, “Inhumane Harvest,” was released on February 2nd. Should all listeners be prepared for the same intensity and technicality on the remaining ten tracks come April 16th? Yes, we’re quite pleased with how the album came out and hopefully each song is a potential fan favorite. That said, they each have their own distinct character. It’s a collection of eleven diverse Cannibal Corpse-style death metal songs. Do you have a favourite lyric that you or your fellow bandmates wrote for the new album that has stuck with you? There are quite a few cool lyrics [and] vocal patterns on this album. My favourite is probably the chorus of “Condemnation Contagion,” which Erik wrote. Can fans expect any signature Alex Webster bass solos on Violence Unimagined? There are a couple of solo-like fills in the song “Follow the Blood” and also a very quick -and simple- bass feature in “Overtorture.” Beyond that the bass tone turned out really well and I think you’ll be able to hear my bass lines throughout the album. Is there a song in the entire Cannibal Corpse catalogue that you feel may have been broadly overlooked by your fan base as being one of your best? Hard to say for sure. Maybe “From Skin To Liquid” from Gallery of Suicide. It’s an instrumental, and extremely slow for us, but I think it’s as heavy as anything we’ve ever done. How was it getting into the studio with your newest member Erik Rutan -who is also a long-time producer of the band- contributing to the songwriting and performing on the new album? It was great to have Erik join the band as our second guitarist and contribute as a songwriter as well. He has so much experience in death metal [performing in bands] Ripping Corpse, Morbid Angel, Hate Eternal, so his skill set was never in question. Obviously, he was already a renowned musician and songwriter in our genre. We also have been friends with him for many years and as you mentioned we worked with him on several other albums. So his joining of the band seemed incredibly natural. The transition was seamless, professionally and personally. Did Erik write any of the tracks on the new album and bring them to the rest of the band during the writing/recording process for you guys to use? Erik wrote three songs for us. We loved them and really there was never a question that we’d use them. We were confident that whatever Erik came up with would be killer and also fit well with our style. Erik knows our music well from working with us and touring with us in 2019 so he knew just how to integrate his own writing style into the Cannibal Corpse style. Again, you’ve also had Erik produce the previous four albums, now five with Violence Unimagined. What is it about Erik that makes him your go-to music producer? He has an incredible work ethic and he knows death metal inside and out. He has a wealth of experience as both a guitarist and a producer in our genre. Finally, given that we’re based out of Winnipeg, Manitoba, Canada, do you have a crazy or funny story from past shows in Winnipeg? We’ve always had a great time playing in Winnipeg! There’s a killer death metal scene up there! Another thing that’s memorable is the weather. It’s either super cold in the winter or quite hot in the summer, but I guess you all already know that [Laughs]. But yeah, that twenty feet or so of walking from the venue to the bus after the show completely soaked with sweat when it’s about 5˚F, well, that’ll cool you down quick! Thanks for taking the time, Alex! I hope you and the rest of the band are staying safe out there! Is there anything else you would like to add before you go? Thank you, I hope you and everyone reading is safe and well too! Thank you for the interview, and thanks to everyone for the support. Hope to see you again on tour, sooner than later! Check out more from Cannibal Corpse: Website | Facebook | Twitter | Instagram

Folk-punk band Blacklist Royals are getting ready to return with the release of their new EP Doomsday Girl, out April 2nd on Paper + Plastick. Since their last album, Die Young With Me -released in 2014- the Rufus brothers have released music with other bands, done solo projects, and are working on a film based on Rob Rufus’s memoir. Inspired by writing new music for the film, the band is better than ever and ready to reassert themselves into the world. Guitarist/singer Nat Rufus and I spoke on the phone to discuss the new EP, the band’s history, who should play Nat in the film, and what’s upcoming next for them. How are you doing, Nat? I’m doing good, man. Just getting things slowly back to normal. Luckily, everyone in our other band, Bad Signs, were able to get vaccinated so we’ve actually been rehearsing. It’s been awesome, we went over a year without playing together. So it’s starting to see the light at the end of the tunnel with the craziness of the last year or so. Before all this, Bad Signs has been our more active band over the years. It’s kinda different-like a psychedelic country-type thing, with a female singer that I switch with. It’s punk at heart, but it’s got a different vibe from the other stuff we usually do together. How would you pitch Blacklist Royals to someone who had never heard you guys before? I’d say it’s kind of West Virginia’s version of The Clash. We come from a very rural, isolated place, and even though all the California punk bands were our inspiration to start playing music I think our roots kinda seep into it. I’d say if you’re looking for some Clash-type vibes with some American hillbilly-ness thrown in, you might dig it [Laughs]. It’s been a few years since your second album, Die Young With Me, was released. How does Doomsday Girl represent the growth of the band? Doomsday Girl is almost a mix of the sounds of our first two records. They both kinda sound different, and the songwriting approaches were a bit different. On our first album, our songwriting was just figuring things out, so this is more of a developed sound. But we had a lot of fans that dug our first album more than our second album because the second album was more mellow at points or definitely song topic-wise, it was more serious. I think the Doomsday Girl EP is kinda a mix of both of those. Rob and I’s other band, Bad Signs, has been really active, but we tend to do a lot of mid-tempo tunes and whatnot, so when we were discussing cutting new Blacklist songs, we were both looking forward to playing some fast punk rock. So the songs kinda came out that way. Do you have a favorite song off Doomsday Girl? I’d say probably the lead single [Doomsday Girl]. Rob actually wrote that song, and I just think it’s super catchy, and it’s always easier for me to dig what someone else wrote [Laughs]. I’m very self-critical, so the songs I didn’t write are always great, and the ones I write, I’m like, “eh, I don’t want to listen to it” [Laughs]. I’m proud of all the songs on there, but I’m more proud of Rob’s. And Rob actually came up with that title years and years ago. It’s funny how the times kinda caught up with some of the stuff we were writing about. It was definitely weird to be under lockdown and thinking about songs called “Doomsday Girl” [Laughs]. Did you guys record the entire EP during the lockdown? We actually recorded the three songs maybe a year or two ago because Rob’s first book is getting adapted into a movie, and it’s about, among other things, our punk band when we were teenagers. So we were working on songs for that movie, and we were revisiting a lot of older stuff we wrote when we were kids and kinda taking some of the parts and rewriting them, just to keep the spirit the same. So we had cut these three songs just for that, it was being pitched around and they wanted some songs to go with the screenplay and whatnot. And when the lockdown did happen, and everything got cancelled, we were just sitting around going, “Should we release these?”. They sound very much like they were written today, they are timely. We didn’t even really have a plan to release anything. We were supposed to play a ten-year anniversary show for our first record, which got cancelled. And it was like, alright, if we can’t play, and we can’t practice, let’s at least put these tunes together and release them. And I have been kind of saved many times over the last year with some of the hopeless feelings, by some of the killer music that has come out. If anything, we just needed to put these the fuck out, just give people something new to listen to, and keep everyone stoked until the world opens back up. Can you tell me anything about what’s going on with the film? Is it still progressing? Yeah, where that’s at right now, as far as I know, is they’re talking to directors right now. It’s still in the weeds a little bit, but it’s definitely moving along, and it’s surreal. It’s been a surreal and exciting thing. But yeah, we’re hoping there’s an official announcement about whose gonna be involved sometime in the next couple months. Disregarding any budget concerns, who do you want to play you in the film? [Laughs] Shit, man. I’d say… It’s a problem for me because it takes place when I was 17, and I don’t know any of the kid actors. Maybe throw Timothee Chalamet in there, all the kids today look punk so it won’t be that hard, ya know. I think Tom Cruise and I share a likeness, so maybe they can get him. No problem on that. They can just CGI Tom Cruise from his Outsiders days. Yeah, man! That would have been the prime time, all those guys back then were called the Brat Pack. That would have worked. I’m gonna have to look into the modern Brat Pack and get back to ya, in order to know who can play me on film. Is there more music from the film that you guys are saving for that, or did you guys write just the three songs and decide to put them out there? There’s all kinds of music written for the film. Right now, we don’t know what will end up in the film anyway because things change so much. We have probably twenty tunes written for the film and a lot of it was because of the uncertainly of it all. The three songs on Doomsday Girl may not even make it to the film. So we were like, these are cut, they sound great, let’s just go and put them out. It was just as much us needing something to do. Rob is very high risk, so before he could get his vaccine, he was very locked in his house for over a year. So it was to keep us from going crazy. You and Rob form the spine of the band, how does the dynamic between the two of you work to produce the best music? Well, with us, and especially with Blacklist, we have other projects that branched out sound-wise and don’t really sound… I mean some people wouldn’t consider our other band, Bad Signs, a punk band even though we do. Working with Rob, especially going back to Blacklist, which was our first real band, we started after we left our small town and whatnot. It’s especially cool after so long of being apart to be able to get back together and write. He kinda brings the best out of me because when it’s just the two of us playing punk songs, it really brings out that element of two 17-year-old kids playing punk songs in their parent’s basement. Our vibe has remained unchained when we get in a room together. And I think the new Blacklist songs, since it was written about Rob’s movie and where our lives were then, it helped us keep our vision of, “what would our high school bands have wanted to sound like?”. Just to stay true to what we really dug when we started the band. The best thing about being in a band with your twin brother is you always have a band member. He keeps me in line, man. It’s been cool to go back to our old band and get stoked on all that stuff again. It’s been more fun to go back and get in that headspace of teenage punks. “Let’s take this lyric from a song we wrote when we were sixteen and throw it in this other song.” and stuff like that. What Blacklist Royals song do you particularly love that you think flew under the radar with your fans? There’s a song called “The Open Door” on our second record that Rob and I really wanted to be the first single and we both thought it was a rocker and it sounded a bit different. Anyway, it was not the single and definitely flew under the radar and I thought it was a cool song, so I’d say that one for sure. What’s something you wish people asked about but seldom do? I guess, even questions like the one you just asked about our second record. Our second record itself just kinda flew under the radar, it didn’t really sell. We had such a great time making that record and thought it was really great. It was kind of a situation where we were working with punk labels in the punk world, and we had gotten an opportunity to work with a subsidiary of a major label and a really great producer and had this really killer experience making the record. And when it finally got done, the label kind of seriously shelved it. And we toured the entire world, and people would say, “Where can we get the new record?”. So it was a disappointment at the time, and we definitely had to lick our wounds for a little while. It was part of what inspired us to branch out a little and form new bands. Since that second record is tied in with Rob’s book, it’s all kinda pushed together for me. So I guess that’s what I’d say, I wish people took the time to listen to our second record more. One of the positives of the streaming era is that now that you guys are releasing new music, old fans and new fans can go back and listen to those songs or albums that they didn’t previously have access to for whatever reason. It really changes the game on that front because before all the streaming took off, you usually couldn’t dig into those hidden gems that didn’t get as much label push. Yeah, absolutely! I think the same way. Streaming has a lot of negative aspects for bands, but it is cool to be able to say, “Oh shit, I didn’t even know they had a second record out.” Which I think happens sometimes. Like you said, in our days, pre-streaming, you are just living and dying on what other people do. You can make the best record ever, but if it falls through the cracks, you’re fucked. And we lived that, for real. So Rob has released a book. Are you writing one as well, or is Rob working on his second book? I don’t write, so Rob is working on a second book. I’m actually holding one of the unedited proofs of the new book that’s about to come out because he just got a box of them yesterday. So he’s got a book called Paradise: West Virginia, that’s coming out this summer, that’s being adapted into a television series right now. So he’s got a lot of stuff going on with his writing. It was a cool way to kind of pull that in with the band and release these songs as well. When you’re thinking through your career up to this point, what brings you the most joy? It always goes back to shows. Either playing shows or getting to play with bands that I never thought I’d get to share a stage with or hang out with. I’m kinda sitting here talking about the business rollercoaster of the music industry, but despite all of that, it could be the shittiest bar show with two people or a huge festival show, it’s always those moments where the band connects on stage and looks at each other and goes, “Fuck yeah, we’re all feeling it,” ya know? I was just talking yesterday about our first tour in Europe, and we played a gig with the Descendents headlining this big reunion tour, and I never thought in a million years that I would even see the Descendents! And then I got to watch them side-stage in front of like 30,000 people! It’s just stuff like that. It’s fandom. At the end of the day, we’re both just fans, and our love for these bands that influenced us has not diminished. I’ll go full fanboy in a hot minute! What inspires you and keeps you going? The prospect of last year, where I’m sure a lot of musicians and stuff were like, “Oh shit, now I live in a world where live shows aren’t even a thing.” I’m sure a lot of people felt like they had their identities robbed from them, especially in the music or creative arts industries. I will say that I don’t know what makes me the way I am, but it was a weird thing when you get pushed with this full cancellation thing. At first, we were kinda moping, but then we took a different approach. Like, “Alright, we’re gonna do as much stuff musically as we can possibly do.” So we had a bunch of songs written and I had a solo EP come out. It’s probably that same ties that bind everyone in the punk community to feel this way, and I’m just thinking, the second some punks can get in a room with each other and play some loud fucking music, it’ll be a new day on the horizon. Check out more from Blacklist Royals: Facebook | Twitter | Instagram

On April 9th, Winnipeg’s very own noise-punk trio Tunic released their second album, Exhaling, though Artoffact Records. Approximately two weeks before the release of Exhaling, I spoke with vocalist and guitarist David Schellenberg to discuss the band’s new album, why they included their previous album, Complexion, on the record, the band’s sound, influences, touring, and much more. You three release your new album Exhaling on April 9th, via Artoffact Records. How do you compare this album to any of your previous releases? Did you do anything differently this time around? Exhaling is new and old songs bundled together for the first time, compiling sold-out releases, random digital singles, and brand new tracks. Its job is to punish the listener with the abrasive songs. Regarding the second half of the album, particularly tracks fourteen through twenty-three, which were featured on your previous release, Complexion. Are these re-recordings of those songs? Why include them in this release? These tracks are remastered and included because the label who released Complexion fell apart right when we released the record and was really shitty to their employees. They would take payment for records and never ship them so people would reach out to me, and I’d have to send them some of our copies. I mailed my personal copy to someone because of this. So we included those songs so we could put them in the hands of a label we trust. What does the band name of Tunic mean as a name to you? It’s just a name. We had started the band, and we needed a name, so I was looking at my records trying to think of something, and I wanted us to sound more like Sonic Youth at the time, so I went with Tunic. How would you describe your music to anybody who may have never heard of Tunic before? You’ll probably hate it. Some of the band’s main influences include Quicksand, Converge, and Botch, but what makes Tunic stand out among these artists? I guess the thing that makes us stand out more is I’m a far worse guitar player than any of the folks in these bands, so I make up a lot of weird chords and embrace some more feedback-based passages instead of more conventional songwriting. If you could book a dream tour with Tunic in the lineup, what would it look like? Dream tour eh? It’d be great to tour with Daughters, Kowloon Walled City, Show Me the Body, or Wax Chattels. Hell, that’d be one wild night of music. I wouldn’t even want to play it. I’d just like to attend. You three have found quite the success over the years and have performed many tours around the globe now. Do you have any funny, interesting, or just any rememberable story from touring? Or even from a Winnipeg performance? So many! Here are some highlights: One time, we slept in a shipping container in Slovenia in February, and we left the heater on and woke up drenched in sweat, panting for air. Dan played two shows in one afternoon at SXSW with terrible food poisoning and drank Pepto Bismol between every song. They crushed both sets. We played a former Nazi prison turned all-ages punk community centre in Germany. As a fellow Winnipegger, if you could perform in the most unconventional place in Winnipeg at this current second, where would it be and why? Probably The Children’s Museum. Mostly because I would love the juxtaposition of our terrible music being played, surrounded by a bunch of kids exhibits, etc. When did it first begin to feel like Tunic was becoming larger than anticipated? Oh God, I don’t know. This band was never supposed to go on tour or make a record, so I guess when those happened or when complete strangers started coming to shows and knowing the words, that’s always a cool one. Are there any plans to celebrate the release of Exhaling virtually? Or you just going to wait it out until you can get back out there with a full crowd? I didn’t even think of celebrating virtually. Realistically I’ll probably have a non-alcoholic beer and start planning out the next release. No rest for the wicked, I guess. Finally, I’m sure it’s stressful trying to release any new music during these unprecedented times. Has it impacted the process of putting Exhaling out to the world in any way? Well, it’s a bit of a new process for us really because this is our first release on a real label and with a full team of people working the record, so that’s been cool. But really, the coolest thing is that we actually have fans who are stoked to hear the new stuff and get the record. It’s just too bad we can’t climb into the van and play 100+ shows on the road and bring the music to the fans. Check out more from Tunic: Website | Facebook | Twitter | Instagram | Bandcamp

On April 2nd, the Richmond, Virginia alternative rock/pop-rock trio released their debut EP, Drift. Roughly a week shy of the release of Drift, I had the opportunity to pick the brains of vocalist/guitarist Nick Gargiulo and bassist Will Beasley to discuss the new EP, their musical/songwriting influences, why the band chose Beasley to produce the debut effort, and more. You are releasing your debut EP, Drift, on April 2nd via Open Your Ears Records. Do you have any remarkable memory of writing or recording the EP? Will: We finished writing all the music right before COVID hit the US, and it was interesting because the lyrics started to take on new meanings, as well as the music. One of the coolest memories of recording was when we stumbled upon a street musician looping his guitar outside near the studio, it was super trippy and beautiful sounding, so we ended up using an audio clip of him playing for the outro of the last song of the EP. Has your musical journey so far taken a deliberate direction, or did it simply gradually evolve in the direction it has found? Will: It has been a slowly evolving process. The main thing we’ve tried to focus on is how we can do something unique and true to ourselves. We just try to write music that best represents the emotion we are feeling and appeals to our strong suits as musicians. After listening to the EP, I can say it’s amazing that each song has its own vibe, but I have to ask, the lead single, “No Filter,” there’s a clear similarity with Nick’s vocals to Patrick Stump. Is there a strong Fall Out Boy influence for you guys that bled into the songwriting? Will: Thank you! Nick’s tamber certainly has moments of Stump-isms, but I wouldn’t say we were listening to them when we were writing. “No Filter” started as a thirty-second demo of just the chord progression with the chorus melody an octave lower, so when we decided to raise the vocals to the high falsettos and louder vocals, it took a new form that started to have that alternative rock vibe. That’s just how his voice sounds. Fall Out Boy certainly knows how to write amazing songs with anthemic melodies, and that is something we are inspired by. Are there any other bands or artists that you have long listened to that have helped influence the band’s sound? Nick: During the writing of this EP, we were really digging Catfish and the Bottlemen, Kings of Leon, Alt-J, Alabama Shakes, Tame Impala, Foster The People, The Strokes, and other alt-rock bands. Is there any particular reason that Will handled all the producing/mixing duties, rather than outsource to an outside party to help collaborate? Nick: We aren’t against outside parties at all, but we’ve tried it before and have yet to really get what we were looking for. Will is insanely talented, and we take pride in trying to do the best we can do on our own, but I’m sure we’d all be open to working with someone in the future, it’s just gotta gel. If you were given the opportunity, is there any musician or plural, musicians, that you would like to collaborate with? Will: Would love to collab with Foster The People, Kings of Leon, Dave Grohl, Kevin Parker (Tame Impala), Gary Clark Jr., Dominic Fike, and The Police. Nick: All these people and bands have such a unique quality to them that is instantly recognizable. Are there any songs off Drift that you’re looking forward to performing live in front of a live audience? I personally feel like the EP’s title track will be a fun one live. Nick: We all have our favourites on the record, but choosing a favourite live track will be interesting. As of right now, we think the track “Drift” will be really fun cause it has a real head boppin’ groove, and it gets a little rowdy in the bridge section. Plus, there is a guitar solo! Also excited to see people’s reactions to some of the more emotional tracks like “Back and Forth” and “The River.” How has the band been keeping busy with all the downtime over the past year? Besides readying Drift. Will: We’ve all kept busy in our own ways. We all have been working a good amount, but also a lot has changed in our personal lives. It’s been a year of reflection and sudden change, but we’ve all adapted and done the best we can to keep ourselves occupied with music, family, and friends. I’m sure it has been stressful trying to release the album during these unprecedented times, did it impact the process of releasing Drift in any way? Nick: We finished recording in March of 2020, and we were expecting to put something out in late summer, but it just felt a little too soon, so we decided to wait, like many others. We also signed to Open Your Ears Records in that time frame, so it gave us time to get everything sorted out the best way we could rather than rushing anything. So it kind of worked out. Lastly, what is one thing you want listeners of the EP to take away from it after they get to hear it in full on April 2nd? Nick: We hope you dig it! The songs have a lot of heart and we hope people can resonate with the music and the lyrics. Thanks for the time, Will and Nick! I hope you two and Clayton are staying safe! Is there anything else you want to add before you go? Will: Please check out our social media and share with a friend if you dig the music! We also have merch available at oyerecs.com! Thanks for your time! Check out more from Wild Truth: Website | Facebook | Twitter | Instagram

Metalcore band While She Sleeps have released the fifth full-length album of their career, Sleeps Society, on April 16th. While She Sleeps was formed in 2006 in Sheffield, England, and in 2012, they first burst onto the scene with the release of their first album, This Is The Six. With each subsequent release, they have seen a massive boost in their profile as more people flock to their catchy hooks and heavy riffs. Founding member and lead guitarist Sean Long had a great chat with me over Zoom regarding the new album and how fan interactions have influenced and shaped While She Sleeps. He teased what comes next for the band, a collaboration that didn’t happen, and what the band has been subtly influencing him for years without him realizing. You guys are releasing your new album, Sleeps Society, next week. Tell me how Sleeps Society is an evolution for While She Sleeps? I think as an evolution, it just comes naturally as we grow up as musicians and human beings. So every album is an encapsulation of whatever we’re going through at that particular moment in time, which is why I love music so much. Because somehow, whatever’s going on in that particular moment, it finds its way into the music, even when you’re not intending for it to do so. I really like that in general. So in terms of progression, I think So What? was a very difficult album for us on an individual level. We had a lot of personal problems going on, and a lot of shit we each had to deal with while also making a record. It always feels like a cycle of one easy album, one hard album, one easy album. And Sleeps Society, with this one we’re all in a good place, we’re all really healthy, and I feel like this is While She Sleeps on form, this is the best we can be. So I’m very happy, there were no internal problems. We went in there and did exactly what we wanted to do. Progression isn’t something I’m ever trying to do, it’s just whatever feels good to me at the time and whatever feels good for the others. We’ve got new stuff going with the synth-world stuff, I’m really enjoying that. I just do what I enjoy, and sometimes that comes across as progression. That’s what we need, that’s good. I never want to sound the same. Was the writing and recording of this one impacted by the pandemic and the lockdowns? Did the band have to change course at any point? The majority of it was written during the pandemic, but we basically had to cancel the last few days of our American tour when this all first started kicking off. We came straight home in March. I was already writing on the road; I’m never not writing. So when I got home, it was pretty normal for me because I wanted to go into the studio then anyway. I had a job to do. I knew what I wanted to do. I had ideas flying around, and then I have this period of time where I can put my energy into it. So as soon as lockdown started, that’s exactly what I did. Weirdly enough, it didn’t really affect me much because I self-isolate in the studio anyways. So nothing really changed for me, in that sense. Aside from those last three tour dates, this was what would have happened with us anyways. At the backend here and now, it’s getting to be new waters for us and other bands. It’s weird times, but I’ve had the benefit of having my mind consumed with something productive. I know how easy it is to get lost in the news world and everything going on, it is scary for sure, but I’m lucky enough to have had tunnel vision for this album. Hopefully, it worked, and it’s a good album. You guys also launched a subscription service on Patreon. Can you tell me how that first came about and what the impact has been? The idea came about originally because we always want to do something different with each record. We never want to just put a record out in the shops. We always like that there’s some incentive or story behind our music, so when you listen to it, it’s not just listening to music for the sake of music. We always like some theme or fun, some noise. And we’re very close with our fans, and it seems to be going further in that direction. I’ve always like to wear that on our chests proudly. We can’t be a cool band, we can’t show off on Instagram, we can’t do anything that could be considered cool without fans to back us up. So to kinda delete these people from the equation and be a cocky band has never made sense to me. So I enjoy giving fans the respect they deserve. With the subscription, we had this idea before all this to release a song a month. So you do this mini-campaign throughout the year, and at the end of the year, you buy the vinyl and get the whole album. So we had the idea, and we thought that was quite cool, and that turned into this subscription thing. Obviously, given the fact that…I mean, we do good numbers on streaming services. We do something like a million monthly listens now. And a million of anything is a lot. But you don’t really get paid for it. People might think you do, but it’s so small, and you see so little. It’s a little frustrating when people are ready to accept that music is free. It’s turned into basically like water. It’s just there. It’s on your phone, and it’s there. Even if you’re paying ten dollars a month for fifty million songs, if you divide that down to the artists, it is free from an artist’s perspective. It’s great what they do for us. We’re not against streaming services. We just wanted to move into this new era of consumer music, and what could we do to keep our band alive, keep our band from going underneath the water? And as soon as the pandemic hit, it made sense to us. I know a lot of bands are struggling, and we lost out on a full year of touring. That’s where our money comes from. You can’t really sell that much merch unless you’re touring. A lot of our money is gone, and I think people forget that it costs a lot of money to be in a band. It’s not just picking up a guitar and having fun. There’s lots of money that it takes to keep it running. And people sometimes forget that when they open Spotify and boom, there’s music. In terms of that, I really like creating this underground secret society idea to go with this album. So it had the function of keeping us alive, but at the same time, I thought it was a fun idea that I want fans to be invested in because it’s exciting. And it was nice to see if people really gave a shit about our band, and they did. It’s cool to be part of this underground, need-to-know club, and I like that aspect of it. It’s necessary to keep us alive, but it’s fun. It’s fun that goes with the record. It’s exciting, and it’s loud. You guys did a song with Deryck Whibley for this album. It’s a bit of a left-field collaboration but totally works when you think about it. How did you decide to do that collab and how did it go? Yeah, it’s a weird one with Deryck because that band has influenced me heavily since I was a kid. But they’ve influenced me in such a way that I didn’t even know it until I was older. I was like, “Fuckin’ hell, we’re so much like Sum 41, we’re literally the metal version of Sum 41!” and I didn’t even realize it! They’re basically the second band I listened to, after Blink-182, so they’ve got a place in my heart for sure. And it came about because we were having the idea of getting some guests involved, and one of our friends had toured with them. So we were like, hell yeah, let’s hit up Deryck and see if he’d be interested. We got in touch with him and sent him a song, and he fucking loved the song. He told us he was a fan of our band, and all of this happened like that, almost by chance. We took a risk and thought we might as well ask people, that’s how you get, by asking. I was like, “Fuckin hell, I wouldn’t even be in a band if it wasn’t for you!.” That’s what I like about it so much, I’ve spent ten years of my life, the middle of it, not knowing how much that band meant to me. And now that I’ve realized it, the motherfucker is singing on our track! So it’s like a real dream, dude, it seems like it’s not even real. I’m over the moon with it. Is there somebody you guys wanted to work with or tried to for this album, that didn’t work out for whatever reason? I’ll tell you a funny story. I wanted to get the electronics player from Prodigy. I think his name’s Liam. He plays this, basically, the synth I bought, it’s a remake of the synth that he plays. I think it’s a Roland 303, and mine is a Behringer TD-3, my first synth ever. I was getting really into this dark, grungy, acid synth, and I had the idea for a synth at the beginning of Sleeps Society, but I couldn’t get the synth right on the computer. I was doing it digitally, with no actual synth. And I was like, why don’t we get someone like Prodigy to come in and do that synth as a collab? So I know someone who used to be their guitar tech, so I got their manager’s email, emailed him, and never heard anything back. But the ironic thing is, I didn’t get an e-mail back, so I bought the synth myself and I learned how to do the synth on the day the song was getting mixed and then sent that and put the synth in. So I wanted Prodigy, couldn’t get it, and then I actually ended up with the sound that I wanted by doing it myself, so I’m really proud about that. That’s awesome. I definitely thought that story was going to end with him e-mailing you back right after you had learned the synth yourself. Hopefully, if they hear what we’re doing with the synths and the metal and stuff, they can come back around, and we can do something. I just think it makes sense, a Prodigy and While She Sleeps song would be cool. One thing that you guys are known for is the intensity of your live shows. I assume you guys are itching to get back out and do shows. What are things looking like on that front? A late 2021 run or pushing things back to 2022? Yeah, this is the most excited I’ve been in our career to play live because it’s the longest break we’ve had. We’ve been going nonstop for fifteen years basically. So I’ve been so consumed with the album, now that’s done. Don’t get me wrong, I’m still busy as fuck right now, but I’m really envisioning these songs live now. Walking out to “Sleeps Society,” and I’m thinking about production and how to make things a mental show. So we’ve pushed our tour back from May to September now, hoping it’ll go forward then. We’re headlining Slam Dunk in September too. So hopefully that’s when it all kicks off, I think it’ll be really beneficial if it goes through because the songs will have had a nice, long time to sink in. Plus, everyone’s excited to go see live music in general, so it kinda gives the album and the songs more traction live, which is half of the reason they’re made. The first reason is for earphones and speakers, and the other half is for live energy. I’m just ready to get out there and release some fucking energy. Everyone’s got so much anger inside, it’s an edgy time, and art is needed for that release. What would be your dream tour, headlining or supporting? One of my all-time favorite bands is Thrice, so they’ll have to be there. Let’s say… Thrice, Rage Against the Machine, Slipknot, and Sleeps. What inspires you? I feel like everyone has something to say internally. Whatever it is -writing a book, making music, doing a podcast, asking questions, drawing stuff, I think there’s something inside everybody that they need to manifest in some way or form. And I think this is mine. And if someone snapped my hands off, I think I’d find another way to get that thing out that you want to say. That’s what keeps me going. I also don’t know what else to do with my life, this is all I’ve ever known how to do. So you keep going, it pulls itself. The While She Sleeps machine… even though it takes a lot of work, it runs itself, and it’s on to the next thing. What is your favourite song on the album that you’ve been excited to let the fans hear? It’s real hard to say favourites because I’m such a fan of what we do and I like everything we make. I put everything into it, and the way we write the songs is the way I hope they’re received on the other end. As my mood changes, my favourite changes, but right now the song that I want everyone to hear most is “Systematic.” That could have been the first song we released, it’s huge. I think that’s going to be the lead song on the album that hasn’t been released prior because it’s so fucking heavy. “Enlightenment” is a really hopeful song, really positive. I can’t pick through them all, but right now, it’s “Systematic.” It’s gotta take the crown because it just makes you want to fucking smack someone in the face. When you look back over your career, what are you most proud of? I think cultivating our sound. That people recognize what we’re doing, and they like it. I know that sounds weird, but since I was a kid, I didn’t understand how bands had their own vibe without copying other people. I was like, how do you have that? How do I be in a band without copying your shit, and having our own thing? And that was one of my big dreams, was to have our own sound and be our own thing. And I really feel like we’ve got it now, and I’m proud of that. It’s nothing like massive shows we’ve played. It’s more just like… being able to still do this. I’ve got a guitar over there with my name on it. Stuff like that, real dream moments for me that I never take for granted. But mainly, just that we still get to make music and people get it. That’s where my gratitude comes from. Check out more from While She Sleeps: Website | Facebook | Twitter | Instagram

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE.

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE.

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE.

This week I spoke with three key members of Le Phoque OFF’s board. Marc-Antoine, who handles a range of jobs from administration to production to even being a stage manager, Ophélie, the festival’s head of PR and communications, and finally Yanick, Le Phoque OFF’s booker/talent buyer/A&R -to learn and discuss more about the 2021 edition of the annual music festival. This year’s edition has adapted with the times and has gone exclusively virtual and runs from February 12th to February 19th, 2021. Established in 2015, Le Phoque OFF is an annual festival taking place in Quebec City dedicated to showcasing emerging artists all while creating networking opportunities in a professional yet relaxed setting. Inclusive and affordable, Le Phoque OFF’s mission is to introduce tomorrow’s artists to today’s performing arts market professionals and to bring forth debates and discussions about current issues affecting the alternative music industry. Le Phoque OFF is back for its seventh consecutive year and to adapt to the current state of the world, the music festival is going virtual. Are you doing anything different than any other online concerts/festivals? Marc-Antoine: Because it’s our event, of course, we love to think we do things a little differently than the other online festivals. But we might be a little biased [laughs]. That being said, one thing for sure that really sets our festival apart from the others is the lineup itself. We focus on up and coming brilliant artists who deserve to be discovered, presenting what could be described as “hidden gems.” It’s not about the big names, all about discovering new artists! Another thing that sets us apart is the “other half” of the festival, which could be described as a summit or a congress. We present panels, roundtables, and other activities where we discuss different challenges and matters that any person who’s working in the DIY scene can face. This part of the festival doesn’t directly concern the general public -it is addressed to others involved in the music business- but it’s still an important part of what we do. We really hope that these activities, by opening the dialogue, can help the music community to evolve and create a sense of mutuality and community. While organizing this year’s Le Phoque OFF, have you been able to incorporate anything new? Or anything new that wouldn’t have been possible at a typical in-person festival? Marc-Antoine: We were lucky enough to be able to film a few bands at a venue called SAT in Montreal. The bands played in a half-sphere venue. I know it sounds crazy, and a VJ was there to project images in the dome while the bands were playing. Normally, people could not really attend this type of experience. But because we filmed a bunch of shows there, people will get to “live” this immersive experience. Ophélie: It’s not something that we originally intended to do, but because the festival is 100% virtual, the streaming feature will allow people from all around the world to attend all the shows. And people will be able to chat during the streams and share their experience, wherever they’re from! It is an exciting experience for both the bands and the public! Were there any big challenges to pulling off an event of this scale online versus the typical festival? Ophélie: Yes, we had to face big challenges for this year’s edition! This year’s festival will be 100% virtual, but we have been live-streaming some of Le Phoque OFF shows since 2017. So the technology wasn’t all that new to us, but still. We normally livestream about fifteen shows online, but we also used to stream our panels named Messe Basse online as well. So I’d say we usually have about twenty live videos, which represent about 20% of our programming. However, this year, since everything is held virtually, it’s looking more like a TV production. So we had to rethink the way we put on shows, the staff we needed to hire, we had to think about things like an intro, an outro, and credits for the streams. We basically had to learn how to produce a TV show [Laughs]. Also, there’s the pandemic itself. Here in Quebec, we have a curfew and a bunch of strict rules, so we consider ourselves lucky to still be able to do something. We had to be very creative to put everything together. We allowed artists to play and so many people to work by going for virtual content instead of canceling. But we made it [Laughs]. We’re confident that this year’s edition will be amazing, even if it’s online. What is great is everybody from all around the world will be able to attend! What genres are featured at the festival? One particular genre or is it diverse? Marc-Antoine: Like we said earlier, in the beginning, the musical direction was a little more punk/rock/stoner oriented. Now, the lineup is super eclectic and diverse, we’re presenting every genre of music! But don’t worry, our approach and mindset are still 100% DIY and punk rock [Laughs]. If you’re a music lover and you want to discover new stuff, Le Phoque OFF is a good way to discover more than 40 bands, ranging in genres as different as folk, electro-pop, hip-hop, post-hardcore, experimental rock, skate punk, etc. Are there any artists on the line-up that you’d recommend for ticket buyers or even artists you’re looking forward to seeing? Yanick: Seriously, that’s a hard one. First, if you buy a ticket you can see all the shows in the program. If you want to blow your mind, you can’t miss Milanku! It’s a unique experience waiting for you. If you love psychedelic punk rock go for Cardiel (a Mexican two-person band). For a freak hip-hop show on the rooftop of a building, go see Dope.gng. For sweet R&B, Magi Merlin is your girl. Also, Ariane Roy, Kanen, yoo doo right, -Shhh! but Emma Beko will be with us too [winks]! Ophélie: Since I’m all in for a girl that rocks, I’d recommend Mélodie Spear. Add a little sweetness from Bleu Kérosène, Pastel Barbo’s indie rock, and Milanku’s awesome experimental showcase -that makes Wednesday the night I’m most looking forward to. For the other nights, I’d say look out for Pure Carrière (experimental rock), l i l a (sweet folk), Ariane Roy (really good pop), and Narcisse (electro-pop, get ready to dance). Their music is amazing. Marc-Antoine: Musically and personally speaking, I am more into the heavier stuff, so I’ll recommend Hate It Too (For fans of: super-fast and technical skate punk), Quitte la Ville (FFO: melodic and nihilistic punk rock), and of course the post-hardcore legends MILANKU. Lastly, how much are tickets and where can festival-goers get their tickets for the multi-show, multi-day event? You get to see more than 40 bands for $12. You can buy tickets here: https://lepointdevente.com/billets/phoqueoff-2021 A ticket will give you access to all the showcases, from February 12 to February 19. If that’s not enough, you can take a look at the schedule here to make sure to catch all the bands! Thanks for the time, Marc-Antoine, Ophélie, and Yanick! I hope you are staying safe out there! Is there anything else you want to add before you three go? Let’s just hope that this year’s edition will give the public and the bands a smile, that they’ll have fun, and that everyone will get to discover some new acts! We hope that this year’s edition will make the public feel a little bit like they are attending a “real live event!” At least, we hope they’ll have a lot of fun in front of their computer! Check out more about Le Phoque OFF 2021 and buy tickets at: Website | Artists | Schedule | Tickets

This past Friday the Toronto, Ontario hard rock artist Daemon Grey released his debut full-length album, Follow Your Nightmares. On the same date as the album drop, I had the wonderful opportunity to pick the brain of Daemon. While talking to Daemon, we discussed everything from reminiscences about the album, his musical influences growing up, what he’s been doing to stay busy during this last year, his future, and more! You just released your debut album, Follow Your Nightmares, today, via Out Of Line Music. What was your most remarkable memory writing and/or recording the record? I would say my most remarkable memory related to the record was actually shooting the music video for “King of Sin.” That is kind of when things started kicking in for me. I’ve been trying to bring heavy music to the world since I was a young teenager and making that music video was a really big moment for me. We had a custom giant black throne in this big subway station set with a crew of like 10 people, a professional model, and a professional video director. And I was like, “All this for a song with me screaming ‘sin’ and taking my shirt off?” [Laughs]. I was like, “Oh shit, this is finally happening.” Honestly, the music is all about having a good time, but it’s still soul music and I put every ounce of my heart into it. I’m really fortunate to have the opportunity to make music, and finally, get it out to the world! Has your musical journey so far have a deliberate direction or did it simply gradually evolve in the direction it found? Well, that is a very deep question that I could probably talk three hours straight about. I have always wanted to write heavy music but I couldn’t quite figure it out considering I do not play instruments and I can not actually write or read music. I think some of those frustrations finally led to me just making my own music on GarageBand using my voice to mimic all of the instruments (apparently that is how Michael Jackson did it too). That was my aha moment where I realized that I can literally just do this myself. Of course, I can’t do the entire thing myself and I’ve been extremely fortunate to work with top-tier musicians and producers to bring the vision to life. At the age of 15 or 16, I decided I wasn’t going to pursue becoming a professional athlete and instead would absolutely pursue making music as the primary purpose of my life. It has been quite the journey to get here! So to answer your question, it has absolutely been a deliberate direction since I was a young teenager. It has really just been a matter of figuring out how to bring my ideas to life and here we are! Are there any bands/artists that you have long listened to that have helped influence the hard rock, metal, industrial blend that is heard on the tracks of Follow Your Nightmares? Absolutely. Some of my biggest musical influences are Pantera, At The Gates, Hatebreed, The Beatles, Tool, Elvis Presley, Alice In Chains, Wolves in the Throne Room, Black Tongue, Madball, Lamb of God, Metallica, Slayer, Enya, The Eagles, Big Star, Thy Art Is Murder, Meshuggah, early Silverchair, Morbid Angel, and 90’s Eurodance. Similar question, if you were given the opportunity, what musician or musicians, past or present, would you like to collaborate with? Some bands I would love to collaborate with: Black Tongue, Full Blown Chaos, lots of bands on Out of Line’s label, deep and dark techno house DJs, Thy Art Is Murder, anything Phil Anselmo, Ayla Nereo, Enya. As you can see I am all over the place in terms of music. I love all extremes across many genres. On any typical day, I will go from listening to extreme death metal to extremely happy, loving music several times. Are there any songs off the new record that you’re looking forward to performing live in front of a crowd when you get the chance? I really love performing “XXX” to audiences because it’s a powerful, sexually driven song and the chorus is really easy for an audience to chant! How have you and the rest of the band been keeping busy with all the downtime over the past year? For me personally, I’m always working on health and fitness and trying to raise my vibration. I don’t watch the mainstream news and I try to sing a Beatles record every day. I’m deep in the process of writing a second record, so that is exciting and it’s keeping me busy. The strip club is closed so I haven’t been dancing for the ladies lately, but I will again. I’m also writing a book about the process of cultivating inner strength and overcoming internal weakness. Lately, I’ve been on a bit of a Keanu Reeves tip and I’ve re-watched The Matrix and John Wick series more times than I will openly admit -he is just so dreamy. Other than that, I’m really into breathwork and cold therapy. I spend a lot of time with my cat Mystic and I spend a lot of time with my friends, including giving lots of hugs because hugs a fucking medicine. Are there any particular songs off the debut album that you’d like listeners to hear even if they don’t listen to the entire album? Definitely. “Stoned and Alone,” “I Like the Taste of Blood,” “Isolated.” What does a Daemon Grey dream tour look like? Who’s on the line-up? Oh fuck, that’s a really good question! I would honestly say my dream show would be like a mixture of goth rock, 90’s inspired Eurodance, and death metal. That would attract quite a diverse audience! That’s also probably why I’m not a concert promoter [Laughs]. Hell, some bands I would love to play with include Black Tongue, Staind, Thy Art Is Murder, Rob Zombie, [and] Manson. I would honestly play with any band in any type of genre pretty much, except for Drake and mainstream country music. Is there anything you wished people asked you during an interview but just never do, and what would the answer to the said question be? “Where do we go after we die?” Well my friend, after we die our soul goes on to the spirit world. While our ego and material body are temporary our soul is eternal. I always keep this in mind, so I don’t get caught up in any ego nonsense or drama. Our life on earth is precious. Follow your heart and be fearless! If it is not coming from your soul, it’s not worth doing. I would never be fake to anyone and I create music from the soul and that’s my only promise. Finally, I’m sure it has been stressful trying to release the album during these unprecedented times. Did it impact the process of releasing Follow Your Nightmares in any way? Honestly, the album process began well before this “situation” started. The entire situation we find ourselves in today has just given me more strength and urgency to bring authentic energy and music into the world. The situation has caused me to shed skin that no longer serves me. I’ve lost some friends who choose to live in fear but made new, stronger, more loving, and more powerful friends. I’ve learned that energy is stronger than blood. I’ve condensed the things I focus on in life drastically and I’ve learned a lot about being grateful for personal health and every moment that we have on earth. Thanks for the time! I hope you and the rest of the band are staying safe! Is there anything else you want to add before you go? Thank you very much for the interview! I just want to, of course, extend my heartfelt thanks to everyone for listening and spreading the word! I put my soul into the music and I hope you can feel it. Finally, I just want to say I am always looking for more musicians who want to play or join the band, and I am currently looking for an additional guitar player. So hit me up! Follow Your Nightmares xoxo Be sure to check out more from Daemon Grey at: Website | Facebook | Twitter | Instagram | Bandcamp

To end off 2020, Manitoba’s own Elder Abuse released a three-track teaser EP, Take It Easy, via Little Rocket Records. I had the fortunate pleasure of asking the band’s frontman Alex a handful of questions about the band’s collaboration with The Flatliners and Hot Water Music’s Chris Cresswell, the differences of their past releases to their new EP, and much more! What is the meaning of the band’s name Elder Abuse? Oh yes, right, our name. Well to make a long story short, the name “Elder Abuse” came about because when we first started back around 2012 we had all done some moving around, and ultimately, we facilitated practicing by rotating our parent’s basements (those saints) -oh, and we sucked. So, in proper parent fashion (the actual credit has been lost over the years as to who actually made the quip) one of them commented that putting up with our noise was “elder abuse” -and it was funny, and it stuck. In truth, we were young and the fact that some could misinterpret it in a negative way didn’t really cross our minds. Especially when at the time you figure your band will last a few shows, not almost a decade. Oops… Sorry, everyone. We love and respect our elders, and in no way, shape, or form would we ever want to cause someone offense or upset -the name is not intended that way. We just sucked and our parents clowned us for it, and rightly so. How would you describe your music to anybody who may have never heard of you guys before? This is a tough question. For the most part, I try not to, but if I had to, I would describe it as a “punk rock” band to those who are unfamiliar with the genre. For those who know, I would liken our influences and sound to older pop-punk with a tinge of skate punk sprinkled on top. What are your musical influences that shape your sound? I think for all of us, it varies depending on which member you ask. All of us grew up on punk rock and hardcore, and a few of us are big metal fans as well. It all just sort of came together organically, but initially I’d say we were hoping to re-create the 90’s poppy skate punk sort of feel. Lifetime, Saves the Day, The Menzingers, and Lagwagon would be influences across the board. I don’t think it can be emphasized enough though how much of an influence the awesome bands in Winnipeg and our peers have had. From classics like Propagandhi, Comeback Kid, and Neil Young, to local favs like Dangercat, The Ripperz, and other peer bands like Youth Decay, Living With Lions, Audio/Rocketry, Fire Next Time -all these bands have made an impact. In terms of drums, it is Slayer and NOFX all day. You guys released your new EP Take It Easy on November 27, 2020. How do you compare this EP to any of your previous releases? Did you do anything differently this time around? This is a great question, thanks for asking. I wouldn’t necessarily say that we did anything different, except get older. I believe these songs showcase a more matured and cohesive sound. We aren’t reinventing the wheel by any means, but I think these songs will show off the years we have all spent working together. The songs are absolutely a bit more matured in terms of structure and content. We hope you all enjoy them as much as we did creating them. How did the collaboration with Chris Cresswell (The Flatliners, Hot Water Music) on the title track come to fruition? Well, some of us have previous connections with The Flatliners from past bands and acquaintances and from kicking around the Canadian punk rock scene in general. Fardoe’s metal band Waster toured with The Flatliners in the past, and my other band Daggermouth has had some connection in the past as well. It also turns out that Mr. Cresswell is a fantastically nice guy as well as a great Canadian musician, and he agreed to briefly put his voice to our music. Thanks again Chris, you made our prairie hearts proud. So how was the overall experience working with Chris Cresswell then? It was fantastic! Chris is a true pro. Due to COVID-19, all the recording was basically done almost individually, so I wasn’t involved in the process myself. Were these three new songs written/recorded before COVID-19 hit the world, or was this new set of tunes a product of the quarantine? I think a little bit of both. The songs were written and primarily completed pre COVID-19 hitting North America. The recording process was done with great care individually with each member tracking parts separately in a room. So, the ideas were already in the works, and quarantine sort of made it all come together -the overall influence of this experience can’t be denied, for any of us I don’t think. Always remember -safety first, then teamwork. Wash up and wear a mask everyone. Could you walk me through what the new EP and the three songs are about? Oh dear, I can’t do this justice… My personal interpretation though is that the content revolves around growth and maturity. Taking the step from one developmental stage to the next. We’ve all been working and spending a significant amount of our time working in our varied professions, bought houses, finished and in some cases continued our education, furthered personal relationships, etc… I think this EP really reflects that process. If you could book a dream tour with Elder Abuse in the lineup, what would it look like? Again, this would differ depending on who you ask, but since I got here first, here it is: Lagwagon, Bad Religion, Alkaline Trio, Elder Abuse. As a fellow Winnipegger, if you could perform in the most unconventional place in Winnipeg at this current second, where would it be? The most unconventional place? Carlos and Murphy’s. Are there any plans to celebrate the release of Take It Easy in any way? We will celebrate by sharing with friends and pushing things online! Otherwise, due to current public health orders, not much real celebrating will be taking place. Although, we are extremely happy to be sharing our work. Maybe in the future, we will be able to give this record the send-off it deserves. Finally, I’m sure it’s stressful trying to release any sort of new music during these unprecedented times, has it impacted the process of releasing Take It Easy in any way, shape, or form? You know, besides having the playing live component taken out of the equation, it hasn’t changed much. We aren’t scheduling a record release or anything like that, so I guess there is a little less pressure. Working with Graeme and his crew from Little Rocket Records is always fantastic though. Another set of true pros, they make the process rather enjoyable! Check out Little Rocket Records if you haven’t -tons of awesome records there, old and new. Thanks for the time! With the current state of Manitoba, I hope the band is staying safe! Is there anything else you want to add? We love music, and we love everyone who has ever taken a moment to check us out, even if it is out of novelty due to our dumb name. This is an important time to be taking care of ourselves. Please look out for one another, follow the public health orders, and if you find these times getting even darker for you than normal -reach out to your supports. We may not all be in the same boat, but we are weathering the same storm. Take care, be well, and be kind to each other. Be sure to check out more from Elder Abuse at: Facebook | Instagram | Bandcamp | Twitter