Release Date: May 15, 2020 Genre: Thrash Metal Label: Spinefarm Records The Norwich, England-based thrash metal group Shrapnel has returned with their third full-length album, Palace for the Insane. This album relentlessly bombards you with blistering riffs, shredding leads, hammering rhythms and above all, ferocious vocals throughout its entirety. Shrapnel’s extreme aggression, which is an absolute trademark of their sound, remains a cardinal part of their newest record. The band showcases more dynamism, versatility, and a different take on songwriting this time around on this twelve-track effort. Palace for the Insane marks the first record for Shrapnel to be produced by Samuel Turbitt of Ritual Sound Studios. After a stint that led the band to take go on hiatus following the release of what was a critically praised -but briefly toured- album, Raised on Decay, the band regrouped last year and returned for the first time as a four-piece after many line up changes. Also last year, Shrapnel began to get back on the road stronger than ever before alongside bands such as Gama Bomb, Wolf, and Acid Reign. Notably, with the recent lineup changes of bassists and vocalists within Shrapnel for the last little while, the band is now joined by one man to fill both duties, Aarran Tucker (ex-Terebos, ex-Sathamel). Palace for the Insane opens with the near seven-minute-long track, “Might of Cygnus,” which divulges Shrapnel’s striking new direction right out of the gate. “Might of Cygnus” starts with an intro inspired by Kreator and leads up to its explosion into a fast and riff-filled blast. The track covers themes of space exploration and human mortality that are intertwined by their dramatic riffs and intricate arrangements until the track builds to its ruinous climax. The album’s lead single, “Salt The Earth,” detonates immediately with a chuggy riff before Aarran Tucker hits you with some devilishly haunting vocals. “Salt The Earth” has one of the arguably strongest and catchiest choruses on Palace for the Insane. While Shrapnel tackles complex subject matter in the lyrics of their songs, the band still manages to honour their old-school thrash metal roots. The album’s title track, “Palace for the Insane,” preserves the band’s fury and leaves a taste of old, while showcasing Shrapnel’s maturity. The melancholic six-minute track “Begin Again” exhibits Shrapnel’s slower side, but still gives you an intensely groovy riff throughout. “Begin Again” is dedicated to the band’s friend Dave, who was a beloved character in the UK thrash scene. Shrapnel wanted to celebrate his life while probing some of the issues of mental health, depression, and suicide. These themes also tie into the album artwork of Palace of the Insane, which was handled by graphic designer and illustrator, Costin Chioreanu (Opeth, Exumer, Arch Enemy, Ghost). His eye-catching artwork examines the experience of mental health issues and manifests them in a hellish backdrop of towering spires and daemonic voices. Comparing Palace of the Insane to the Shrapnel’s previous album, Raised on Decay reveals yet another stylistic evolutionary leap for the band. The most extreme elements of Shrapnel’s sound on Palace for the Insane clearly remain the addition of Aarran Tucker to the role of both vocalist and bass guitarist which opens the band up to more experimentation with their songwriting as a group on this effort. Some of the speediest and technical songs on Palace for the Insane are the three tracks, “Bury Me Alive,” “Infernal Choir,” and “The Mace.” Check out more from Shrapnel: Facebook | Twitter | Instagram

Kristian Niemann, the guitarist of the epic doom metal band Sorcerer, is thrilled that the band is about to release their third album Lamenting of the Innocent, on May 29th via Metal Blade Records. He graciously agreed to an interview with him to talk about the new album, and so I video-chatted with Kristian from his home in Stockholm, Sweden. Sorcerer was formed in Sweden in 1988, however, disbanded shortly afterwards in 1992 after recording a few demos. Then in 2010, Johnny Hagel (bass) was asked to perform a set at Hammer of Doom in Germany. Enter Kristian Niemann. “John said he’d check if he could find some guys because it had been a long time since they went their way. He had kept up with Anders [Engberg, vocals], and then they asked a couple of us to do it, to fill out the formation, so we just did a couple festivals and then we decided we should probably decide to make an album. We had such a good time playing together and great chemistry, and here we are. We’ve had a couple lineup changes but yeah, this is the third album in five years now,” says Niemann. He describes the band’s sound as “slow, groovy, melodic, heavy metal with big choruses and a lot of hooks.” Niemann, best known prior to Sorcerer as a member of the bands Therion and Demonoid, is no slouch on the guitar. He credits his dad showing him a live video of Metallica’s “For Whom The Bell Tolls” as the inspiration to pick up the instrument in 1985. “When I saw that video, I was like, holy cow! That was the catalyst; That was the moment where I was like, shit man, I need to play!” He hasn’t stopped since. Following a two-year stint in Los Angeles to study jazz guitar, he returned home to Sweden and joined Therion shortly thereafter. Now in Sorcerer, Niemann is ready to bring their music worldwide with the release of their upcoming album, Lamenting of the Innocent. He is joined on guitars with Peter Hallgren, with new additions to the lineup Justin Biggs (bass) and Richard Evensand (drums) rounding out the outfit. The lead single from the album, “Hammer of Witches,” is available now. Niemann describes the song as the “fastest and most direct song on the album, very easy to get into,” but he does point out that it’s “not very representative of the album as a whole,” as they wanted to continue expanding upon their sound and adding more elements to Lamenting of the Innocent. “There’s more of everything; more layered guitar, more keyboards, the drums are a bit bigger,” he says, “We have some growling on this album for the first time as well, so that’s another new thing. More is more, as the English say [Laughs].” Lamenting of the Innocent was almost entirely self-produced, which Sorcerer has done for all of their albums. The band knows what they like, Kristian affirms, and they are confident they can deliver an album that will sound good. “I think it’s because we’re all old guys now [laughs]…we had a lot of experience with and without producers, and these days, you can do so much at home.” Kristian and Peter both write their song parts separately and do extensive demoing, then send them off to Anders for vocal mixing. “For the most part, my songs are my songs and Peter’s are Peter’s”, he says, “for the next record, we are actually hoping to write songs together more, especially with Peter and I. That would be fun, we want to try that.” After sending a demo off to Anders, Anders adds vocal melodies and rearranges the song structure. It’s a balancing act between everyone involved to figure out how to best make the song shine. Niemann is especially proud of the title track on Lamenting of the Innocent. It was one of the first songs written for the album and when the song came together, it was a promising sign. Hoping to ride the wave of the critical success of their previous album, The Crowning of the Fire King, Niemann was pleased that they managed to produce something so dynamic in the early stages of writing. “The chorus was just so epic,” he told me excitedly. “When I first heard it, I was like, ‘Holy shit, if that’s the level we can produce right now, this will be a good record.’ I knew we were in good shape. That’s a special one.” Sorcerer was supposed to have a short tour run in Germany that started on May 29th, the day the album is set to be released, but with the present global pandemic, all tour dates are currently postponed. The band will instead seek to do some playthroughs of the album on Youtube, as well as videos interacting with fans or seeing the band in rehearsals until the all-clear. “We’re just taking it day by day,” Niemann states. When I asked Kristian what some of his proudest career moments were, he was quick to list several moments with a big grin on his face. In his previous band, Therion, they had played at Wacken in front of 60,000 people. They also once performed the Russian national anthem to a large crowd in Moscow. Those moments definitely resonated with Kristian. However, he considers Sorcerer getting signed to Metal Blade Records and the fan interactions he’s had over the years as the things that make him the proudest. “We didn’t think it [getting signed] would happen when we recorded our first album, and then we got hooked up with Metal Blade, and that was just amazing because that’s a legendary label.” With just a few weeks to go until the release of Lamenting of the Innocent, Kristian is eager for people to finally hear the band’s hard work. “Everyone’s really excited and trying to do their thing to push the band forward, we’re really trying to get some momentum going with the band…we have some great chemistry in the band, and that really helps, too.” I had one final question for Kristian to finish the interview: What inspires him? His answer was simple, and the best one I could have asked for. “Just a profound love of music. It’s the last thing I think about at night and it’s the first thing I think about when I wake up.” Check out more from Sorcerer: Facebook | Twitter | Youtube | Instagram

Release Date: May 1, 2020 Genre: Post-Hardcore, Metalcore Label: Hopeless Records One of the newest bands on the scene set to rise through the ranks is the metalcore/post-hardcore band, GroundCulture which hail from Newcastle, England. The quintet has delivered their much anticipated ten-track debut record, How Well Do You Know Yourself? The band’s music is meant for the black sheep, the underdogs, the outcasts. This album was created with the purpose of making the outsiders feel seen, heard, and as though they belong. Every single track on How Well Do You Really Know Yourself? was designed by the members of GroundCulture to approach a different angle of an individual’s self-discovery. The opening track of How Well Do You Really Know Yourself? is the blistering song, “Life Won’t Wait.” As the track opens, vocalist Roy Watson yells the words, “How well do you really know yourself?” I feel this line frames this entire album and begins the thought-provoking dive into the psyche of the human mind that takes place throughout the record. The song mostly covers the topic of how life doesn’t slow down and sometimes you just need a break from it all. “Self-destruction’s the face of a stranger / Life won’t wait / Set your pace and stretch yourself to the changes you’ll make.” “REALEYES” is the album's lead single and opens with an alluring and haunting female voice singing the words, “Don’t wanna wake up,” an element that continues throughout the entire track. “REALEYES” tackles the subject of kicking your subconscious in the teeth and appreciating who you truly are underneath the surface. “You make me wanna find my strength / As I begin to realize I’d been giving up / Nothing matters when you close your eyes / Nothing matters when you realize time’s on your side.” The album’s second single, “Trauma Can Teach,” continues with the band’s now known boisterous sound and showcases more of their influences in the likes of Architects and The Ghost Inside, in shaping what their sound is today. “Trauma Can Teach,” illuminates the fact that all of our painful experiences hold immense value and power when faced properly. “It’s not gospel / For I search in the darkest of corners for moments to feel alive / Find something to believe in / All this stress is my vector for suffer spent.” GroundCulture leave their tempestuous energy behind them to close out How Well Do You Really Know Yourself? On the penultimate track, “Dream Like a Child,” the band brings the tone down for a post-hardcore track featuring, Philip Strand, the frontman of the pop/rock band, Normandie. Ending off, How Well Do You Really Know Yourself? is the beautiful acoustic track, “1974.” Leaving you with the final message of loving your true self after having you ask yourself, “How Well Do You Really Know Yourself?” during the album's duration of thirty-seven minutes.

Release Date: April 24, 2020 Genre: Alternative Hip-Hop, Alternative Rock, Post-Hardcore Label: Hopeless Records The Atlanta, Georgia hip-hop artist Clayton Roney, or more famously known as Lil Xtra has returned with his genre-bending third album, Taking Up Space. Roney is often referred to as “the La Dispute of emo-rap” with a passion for music as a form of self-expression and healing. While using music as his outlet, he continues to share personal experiences through his songs. Lil Xtra is representing a new generation of musicians and fans who were raised knowing no genre-boundary lines. Roney cites artists Juice WRLD, Blink-182, A Day To Remember, and Post Malone as his main musical inspirations. Lil Xtra has rightfully claimed his seat amongst his SoundCloud equals in the likes of similar artists, guardin and nothing,nowhere. Taking Up Space was completely written, produced, and recorded by Clayton Roney in his hometown of Atlanta. Taking Up Space opens with the melodic track, “Hive,” which leaves you with just a taste of what the album offers by mixing genres throughout the track. “Hive” touches on the subject of being pushed out of a circle of peers and being bullied. “But I’m just your project / You’ll beat me unconscious / Make sure I know I’m better off in the ground / I’ll long for the casket / I’ll put on the mask when you say / Hey you know that no one wants you around right?” The lead single, “Under The Weather,” tackles mental illness from the perspectives of both the people who suffer as well as the loved ones who are around them. “Cause I just need some time to feel better / I’m bent and too broken / Falling under the pressure / But I think we’ll be fine / Keep it together / It feels like we’re dying / We’re just under the weather.” The fourth track on Taking Up Space, “HXHXHX,” takes a drastic shift in tone and is indisputably the heaviest track on the record, showcasing Roney’s post-hardcore talents. A song that can’t be argued draws solely from Roney’s heavier influences in his musical inspirations. Other tracks on the album such as “Hive,” “Under The Weather,” “Alive” -as well as a few others- take elements from this influence as well. While Taking Up Space is primarily an emo-rap album front to back, it’s also no secret it draws elements from several genres all over the musical spectrum and uses elements of these influences throughout the album. The tracks “Alive” and “Wasted In Paris” mostly from hip-hop, while tracks like “Home” and “Normal” are essentially just Clayton and an acoustic guitar. Lil Xtra has found a way to put his own stamp on the emo-rap genre, with his latest release, Taking Up Space. Check out more from Lil Xtra: Facebook | Twitter | Instagram

Release Date: April 17, 2020 Genre: Alternative Country, Folk, Rock Label: Snakefarm Records Los Angeles alternative country/folk singer-songwriter Jake Smith, or more famously known as The White Buffalo has returned once again with his seventh full-length studio album, On The Widow’s Walk. On the album, Jake Smith is joined by Matt Lynott on drums as well as bassist Christopher Hoffe. The White Buffalo’s continued rising success has in part from nearly a dozen of his tracks being featured on the series, Sons of Anarchy. Most notably, “Come Join the Murder,” which was featured on the series’ season seven finale. On The Widow’s Walk, was produced by two-time Grammy Award-winning producer, Shooter Jennings (Waylon Jennings, Billy Ray Cyrus, Duff McKagan). On The Widow’s Walk starts off with its second single, “Problem Solution.” This, as well as the album’s third track, “No History,” approach the subject of living in the moment, however, “Problem Solution” gets Smith’s message across in the style of a folk-rock ballad. “But they’re so sincere, triumph and fear, coursing, forcing their might / Well, you can’t live this life straight, so get high, get gone / Well, I think it’s a little too late to be moving on / No one is a really to say, what’s right, what’s wrong / So let’s just get through the day.” “Faster Than Fire,” the album’s third single, tackles the subject matter of the indiscriminate wrath brought upon the human race by mother nature’s sometimes very spontaneous destruction. Associated with and without climate change and global warming in a high octane folk punk-infused track. “Oh, you can’t run faster than fire, faster than water / Oh, you better run for your lives, grab your sons and your daughters / Oh, well the fire line, I don’t think we’ll hold you / Oh, mother nature’s a bitch, I don’t think she warned you / But she is gonna show you, hey!” “The Rapture,” which happens to be the first single off On The Widow’s Walk, is a track where Smith wrote about what happens when the moral compass spins wildly out of control in the setting of a slow, yet menacing alternative country track. The track also features Smith howling like a wolf through the interlude. “Well, I’ll tell you I got secrets, I know you got yours too / But mine are a little more sinister, done things I can’t undo / I bury all my secrets in the deep, dark woods of the pines / Covered in mud and timber, they come calling me at night.” “It’s a twisted, primitive tale of an unrelenting thirst for blood,” explains Smith. With “The Rapture,” I wanted to blur the lines between animal and man, to create a tension of moral restraint and unbridled evil.” At one point in the songwriting portion of On The Widow’s Walk, the idea of a concept album was thought up by Smith and the band, however, Smith didn’t want to leave out valued tracks because they might not fit a specific concept. On The Widow’s Walk features the underlying theme of water and the ocean, rather than dominant themes throughout. On the track, “Cursive,” Smith touches on the soulless march of technology. Smith also writes about the sense of longing, which is something reflected in songs such as “Sycamore,” “River of Love and Loss,” and the album’s title track, “Widow’s Walk.” It’s even right in the album artwork as well in a portrait painted of Smith by UK artist Jack Browning.

What’s the significance of the name Red Vienna? Robbie: Vienna was one of the most beautiful cities in Europe that we visited while on tour with our previous band. When I got home, I did some research on the city and saw the term “Red Vienna” which was an effort in order to rectify many of the cities social crises. Some great artists and Art Deco architecture came out of this era in the city. It just had a really interesting meaning and the cultural significance seemed to resonate with us as a new band. It had nothing to do with politics, I think it just suited the vibe we were going for. How would you describe your band’s music for any person who may have never heard Red Vienna before? Jahmeel: Aspects of it are heavy, but it’s also very melodic and melancholy. Robbie: The songs also have post-punk and shoegaze elements at times, but don’t necessarily fall into those categories. What are your musical influences that shape the sound of, Red Vienna? Jahmeel: The Jesus and Mary Chain, Failure, Killing Joke, Bee Gees, Black Sabbath, and Fugazi, are all groups I would say have had a direct influence in some way on our songs. Devin: Interpol, Radiohead, The War On Drugs, The Stone Roses, Slowdive, and Wild Nothing come to mind. Your new EP, Tomhet, is about to be released later this week and the two tracks have been released as singles the last few weeks. How has the reception been so far? Jahmeel: Really great! Seems like we’re reaching more people than ever before and the reactions have been really positive so far. Robbie: It’s been so great, the receptions to the songs have been so positive. I’ve had people tell me how beautiful, “Evelyn” is… I never saw it in that way as the topic is so dark. It can be a bit nerve-racking releasing your music to the world as everyone will have their own opinion on it. All you can do is hope people will enjoy it, and that has been the reaction so far. The title track, “Tomhet” follows the subject of depression and hopelessness. If you don’t mind me asking, is that a personal subject to write about? Jahmeel: It was at the time I wrote the lyrics. Happy to say I’m on the other side of that. Glad to hear you’re on the other side of it. How did the grim, yet haunting Robert Wiles photograph from 1947, titled “The Most Beautiful Suicide,” influence you in writing the song, “Evelyn?” Jahmeel: I was really struck by the photo when I saw it. It’s a beautiful image even though it’s also a morbid one. There was also the influence of New York itself and the fact that the photo was taken there. It’s such a special city and anytime I can put my thoughts there in a song I find it really inspiring. “The Dead Lines” off our album, The Book of Hours, also touches upon similar subject matter. Are these songs just a taste of what’s yet to come in future releases? Do you happen to have any more music ready for the near future, considering Tomhet was only a two-song release? Robbie: We do hope to record new material in the near future. We currently don’t have any tour plans so, for us, it makes more sense to release a song or two at a time. With Tomhet being of a darker subject matter, are there any positives you want people to take away from the EP? Jahmeel: That you’re not alone. I think most people experience the type of feelings I touch upon here. There’s a light up ahead. What’s currently planned for Red Vienna for the remainder of 2020? Jahmeel: With the current situation in the world, the immediate plan is to work on more material at home. Hopefully, we can continue to reach more people with these new songs and videos as well. Thanks for the time. With everything going on around the entire world right now, I hope you’re staying safe. Is there anything else you may want to add? Jahmeel: Thank you for the interview. I’d like to send our thanks to everyone who’s checked out the new songs and shown their support online. We greatly appreciate it. Stay safe out there. Robbie: I would like to thank all the fans out there and that we very much appreciate the support. Wishing you all good health and to stay as positive as possible. We have to get through this together.

Release Date: April 3, 2020 Genre: Post-Rock, Alternative Rock Label: Locust Hail The Vancouver-based three-piece Red Vienna returns to the spotlight with a two-track EP, Tohmet. The EP is a grim and haunting follow-up to their 2015 full-length album, The Book of Hours. Red Vienna was formed in 2010 by drummer Robbie Zgaljic (Sparkmarker, Black Halos), bassist/vocalist Jahmeel Russell (ACTORS), while they’re joined by guitarist, Devin Boquist. Tohmet was produced by Jahmeel’s ACTORS bandmate, Jason Corbett at his Vancouver studio, Jacknife Sound. The album features two alternative rock/post-punk tracks “Evelyn” and the title track, “Tomhet.” The pair of tracks pick up right where the band’s previous album, The Book of Hours, left off. The first track on the effort, “Evelyn,” was inspired by the photograph captured by Robert Wiles titled “The Most Beautiful Suicide.” While the image has been iconic for years, it’s quite the morbid and subtle image of a 23-year-old woman, Evelyn McHale, laying on the roof of a United Nations Limousine, taken on May 1, 1947, four minutes after she jumped to her death from the 86th-floor observation deck of the Empire State Building. Whereas the title track, “Tohmet,” is a song covering similar topics of depression and hopelessness. Tohmet beautifully captures various rock sub-genres in collective elements ranging from post-rock, alt. rock, shoegaze, and even in a little bit of punk. Although Tohmet is of a darker subject matter, there are still some positives you can be left with after listening. The album is for fans of bands like Black Rebel Motorcycle Club, Interpol, Killing Joke, and Failure, to name a few, and these band’s influence shines through brightly on both of the tracks, “Evelyn” and “Tohmet.” Check out more from Red Vienna: Facebook | Tumblr| Youtube

Release Date: April 3, 2020 Genre: Metalcore, Metal Label: Fearless Records The Pennsylvania metalcore quintet August Burns Red returns with their impressive, continuously catchy and melodic ninth studio album, Guardians. The band has been going strong for the last seventeen years with a majority of original members still intact and after the success of their previous album, Phantom Anthem, which garnered two Grammy Award nominations, the band continues to deliver their melodic metalcore stylings for their ever-growing dedicated fan base on these eleven tracks that are now known as Guardians. August Burns Red took a different approach to the writing and recording of Guardians as the band hunkered down in the studio during periods throughout 2019 to write and record the album in a few parts, rather than in one singular cluster, resulting in the most time they’ve taken to complete an album. Purposely trying to create their best work they could possibly write. August Burns Red wrote and recorded the album in York, Pennsylvania at Think Loud Studios with their longtime producers, Carson Slovak and Grant McFarland. “After the first session, we had months to think about what we might want to change. We never had this much time and liberty for production. It enabled everyone to be more critical and think about putting an individual stamp on the songs. Think Loud, was also the nicest facility we’ve ever tracked in. We had tons of room to work and be creative. We’re super proud of the final product. Dustin and I collaborated more than we have in the past as well. Typically, one person will write a whole song and send it to the band. We all got to contribute here,” says lead guitarist, JB Brubaker. Throughout the entirety of Guardians, it features the loose underlying theme of being there for another person who’s reaching out for help. A concept that drummer, Matt Greiner, wanted to write about on one or more tracks on the album. This theme was also an idea that recurred for the members of August Burns Red as they put the album together as a whole over the various stints within the studio throughout the last year. “Bones,” which is the albums second track and also coincidentally the second single off Guardians starts slowly at first before becoming a fast, catchy, yet melodic track that follows the subject matter of how certain acceptable (and unacceptable) traits of a person are etched within a human beings soul or bones. “It’s in our bones to be benevolent / It’s in our souls to be of service / It’s in our bones to be benevolent / It’s in our souls.” “Defender” is the fourth track on Guardians as well as the album's lead single. The track was one of the first tracks written for, Guardians. It’s the main track of the album that really hits the hammer to the nail on the loose underlying theme previously mentioned, of somebody being there for another person who’s reaching out for help. “I need a defender / A voice that shakes to calm the quake / I need a defender who bends and breaks in my place.” “Lyrically, I wanted to write about being able to reach out to someone. We all need a person who can take the punches for us when we need them to. We need a defender who bends, so we don’t break. The music matched perfectly.” Says drummer, Matt Greiner. “Lighthouse” is another catchy tune on the eleven-track effort that touches on the topic of helping others who need a helping hand and how one can be a good Samaritan for a person in need. “Take another look around / There is so much lost to be found / People everywhere are hurting, even though they’re counted out / There is so much lost to be found.” A couple of stand-out tracks worth mentioning are “Bloodletter,” which notably is the album’s heaviest track, if not one of August Burns Red’s heaviest tracks to date. As well, Guardians comes to its culmination with the track “Three Fountains.” The track is a near six-and-a-half-minute epic with the most excellent feel to end off, Guardians on a high note. While the band did take a different approach than previous albums on Guardians, it proved effective as August Burns Red hit it out of the park with what is the perfect collection of music for the band's fans and metal fans alike. While it draws the same vibe from all their previous albums, Guardians maintains constant catchy choruses throughout, displays a slightly slower side of the band at times, and certainly keeps the high octane energy from beginning to end. “We just want the fans who have been supporting us year in and year out to feel like we put out the best possible record we could make. I hope they sit down and smile when they listen to it -and want to see it [performed] live.” Concludes guitarist, Brent Rambler. Check out more from August Burns Red: Website | Facebook | Twitter | Instagram

February 22, 2020 Festival du Voyageur – Manitoba 150 Forrest Tent All photos by Nicole Malcolm Photography.

Release Date: February 21, 2020 Genre: Post-Hardcore, Metalcore, Alternative Metal Label: Fearless Records Song Highlights: “BURNING YOUR WORLD DOWN,” “THANK YOU,” “NUMB LOVE (MISERY II),” “MONOMANIA.” The Word Alive, a metalcore/post-hardcore band based out of Phoenix, Arizona, has released their anticipated sixth studio record, MONOMANIA. The band continues to try and make something different with each record, which they have done since their 2014 record, Real and they kept that promise still with, MONOMANIA. A major factor for this record is they went with a different producer than Matt Good, who produced The Word Alive’s last two records, Dark Matter and Violent Noise. This time around they went with Erik Ron who has previously produced albums with Godsmack, Dance Gavin Dance, and nothing,nowhere., to name a few. This album still gives the metal vibe that you know from the band with Telle’s amazing vocal range, catchy guitar riffs, and hard drum beats. The album starts with the title track, “MONOMANIA,” giving that new Word Alive feel to the music. With the catchy chorus, hard guitar riffs as well as Telle’s hard scream at the end, it was a beautiful first track to the album. “NO WAY OUT” starts with a different vocal range from Telle than you’re used to, if you’ve followed the band for quite some time you’ll notice it easier. It does catch you off guard for sure, but one thing that I believe should be approved upon is how much they went through the chorus in the song, as much as they did. “SEARCHING FOR GLORY” did give the same vibe as, “NO WAY OUT,” but didn’t give that much of a repetitiveness. What I loved a lot about this track was the acoustic guitar and Telle’s vocals near the end of the track giving the track what it needed to be filled. “ANOTHER YEAR IN THE SHADOWS” is that song you hear on most records that is the ‘arena rock’ type song, but for myself, I always love those types of songs and Telle used his entire vocal range on this track. “GREATEST ALMOST” is a hard-punch song with Telle’s vocal range and high tone guitar riffs, but if you’re a fan of, Dark Matter, you will love the tracks, “THANK YOU,” “K.F.” and “NUMB LOVE (MISERY II).” “THANK YOU” has some guitar riffs that you hear from hit songs from the Dark Matter record, but what ties the song together is Telle’s vocal projection into his screams. As for “NUMB LOVE (MISERY II),” I was very skeptical for the track as I loved the song, “Misery,” a non-album single from 2017. Trying to make a sequel to a track can go great or terrible. I think The Word Alive made a great track as that intro to, “NUMB LOVE (MISERY II).” It gave me goosebumps with that hard-hitting chorus and very great guitar riffs within the track. I believe, “NUMB LOVE (MISERY II),” could’ve been its own track rather than a sequel to, “Misery.” “K.F” is a very enjoyable track in my mind from the band. Amazing screams and more great guitar riffs. “BURNING YOUR WORLD DOWN” and the records title track, “MONOMANIA” tie this whole record together. With some of the harder guitar riffs on the record, along with Telle’s passion in his vocals, with another catchy chorus, it makes them great tracks. “COMFORT & CHAOS” is a very different song on the whole record for sure. That outro tied that song together in my mind with Telle’s clean vocals and that acoustic guitar. “I’M SORRY YOU’RE SORRY NOW” sounds like a b-side to something off, Violent Noise. I prefer something new or something with more “grab” than something that sounds like it was made for a previous release. Finally, it all comes down to the final track, “DEATH IS ONLY THE END IF YOU ASSUME THE STORY IS ABOUT YOU.” A long song title for sure, but they played around with the soft tones of the band and with the fast hard type of song, along with very punchy bass. “DEATH IS ONLY THE END IF YOU ASSUME THE STORY IS ABOUT YOU” goes full metal closer to the end of the track to deliver one final blow to end it off right. The Word Alive put together another good piece of work with, MONOMANIA, for fans that thought that the Violent Noise record wasn’t heavy enough, this record is for you. As this record was bouncing all over the place between metalcore, post-hardcore, and alternative metal. I think for the next record they have to pick one side of their sound, either go full-on heavy, or show their lighter side.

Release Date: January 24, 2020 Genre: Pop Label: Independent Alex Porat’s debut self-titled EP is a striking introduction to the Toronto-based singer-songwriter, showcasing her delicate yet powerful vocals through a series of beautifully chosen covers. Released on January 24, 2020, the EP features five emotionally resonant tracks that blend elements of pop, balladry, and acoustic simplicity, allowing her voice to take center stage. With heartfelt renditions of songs by Jorja Smith, Kodaline, Calum Scott, Shawn Mendes, and The Greatest Showman soundtrack, Porat crafts a collection that highlights her versatility while remaining authentic to her style. The EP opens with "Don't Watch Me Cry", originally by Jorja Smith. Alex Porat’s version feels deeply intimate, stripped back to a piano-driven arrangement that brings out the rawness of the lyrics. Her voice floats effortlessly through the song’s melancholic tone, making it a standout for those who appreciate vulnerability in music. The emotional weight of this cover sets the tone for the rest of the project, immediately pulling the listener into her world. Her rendition of Kodaline’s "All I Want" continues this vulnerability, though with a slightly more uplifting twist. The song’s yearning lyrics pair well with Porat’s vocal delivery, and she manages to maintain the balance between hope and heartbreak that defines the original version of the song. While she stays true to the core of the song, her interpretation feels uniquely personal, marked by a subtle tenderness that distinguishes her vocal style. "A Million Dreams," from the 2017 blockbuster film The Greatest Showman , adds a theatrical touch to the EP. Porat’s voice soars on this track, showcasing her vocal range and her ability to handle larger, more ambitious arrangements. The song’s sweeping melody gives her room to shine, and while it could be easy to fall into over-the-top dramatics, she keeps her performance grounded, which makes it all the more impressive. One of the most moving moments on the EP is her cover of "You Are The Reason" by Calum Scott. The simplicity of the piano and vocal arrangement puts her voice front and center, and she delivers a rendition that is both soft and full of emotional depth. There’s a sincerity in the way Porat interprets the lyrics that gives the song new life, making it feel more like a heartfelt confession than just another cover. The final track, a take on Shawn Mendes’ "In My Blood," closes the EP on a strong note. Her version strips back the production compared to the original, bringing a more acoustic-driven feel to the song. This approach allows the lyrics to stand out more, with Porat’s vulnerability once again taking center stage. She captures the struggle and strength behind the words, offering a refreshing take on a popular track. Overall, Alex Porat’s debut EP is a promising showcase of her talent as both a vocalist and an interpreter of songs. While all five tracks are covers, she brings a fresh, personal touch to each one, making them feel like her own. The project demonstrates her potential to craft emotionally charged music and sets the stage for her future original works. With a voice that is as delicate as it is powerful, Porat has certainly made an impressive first step into the music world. Check out more from Alex Porat: Website | Facebook | Twitter | TikTok | Instagram

Release Date: January 17, 2020 Genre: Pop, Pop Rock, Country Pop Label: Capitol Records Halsey’s third studio album, Manic , released on January 17, 2020, via Capitol Records, is a deeply personal and genre-defying project that showcases her artistic evolution. The album is a raw, unfiltered exploration of identity, mental health, and self-discovery, delivered through a mix of pop, rock, country, and hip-hop influences. Manic  opens with "Ashley," a reflective track that sets the tone for the album’s introspective journey. Halsey, whose real name is Ashley Frangipane, uses this song to confront her public persona and the struggles that come with it. This theme of duality and self-exploration runs throughout the album, as she grapples with the tension between who she is and who the world expects her to be. The album’s lead single, "Without Me," is a powerhouse of emotion and vulnerability. It became Halsey’s first solo number one on the Billboard Hot 100, and it’s easy to see why. The track’s haunting production and raw lyrics capture the pain of a toxic relationship, making it one of the most memorable songs on the album. One of the standout aspects of Manic  is its eclectic sound. Halsey seamlessly blends genres, refusing to be boxed in by any one style. "You should be sad" is a country-tinged breakup anthem, complete with twangy guitars and a chorus that channels the energy of early 2000s pop-punk. In contrast, "3am" is a frenetic pop-punk track that captures the anxiety and loneliness of late-night introspection. The album also features several notable collaborations, each bringing something unique to the table. "Dominic’s Interlude," featuring Dominic Fike, offers a dreamy respite in the middle of the album, while "I HATE EVERYBODY" dives into the paradox of craving both connection and isolation. The most unexpected collaboration comes in "SUGA’s Interlude," featuring BTS’s SUGA, where Halsey explores her fears and insecurities over a minimalist, introspective beat. Halsey’s lyricism on Manic  is as sharp as ever, with lines that cut straight to the heart. In "More," she expresses her deep desire for motherhood, a theme rarely explored in mainstream pop music. The song is a tender moment of vulnerability that contrasts with the defiant energy of tracks like "Graveyard," where she sings about the dangers of losing oneself in love. The album closes with "929," a candid, stream-of-consciousness track where Halsey reflects on her life’s journey, complete with all its highs and lows. It’s a fitting end to an album that feels like a diary set to music—unfiltered, honest, and deeply human. Manic  is a bold and ambitious album that sees Halsey embracing her multifaceted identity and using her platform to explore complex emotions and themes. It’s a testament to her growth as an artist and a person, and it’s an album that invites listeners to join her on the journey of self-discovery. In Manic , Halsey finds power in vulnerability, and the result is a project that is as cathartic as it is captivating.

Shared post with reasonablylate.com. Go give them a follow on Instagram. December 10th, 2018 “4:20 arrival,” Van the Good yelled from the driver seat, “we have to make that. Everybody, hold your pisses.” The drive from Mobile to New Orleans is a little over two hours, which is nothing compared to the hundreds of miles we had travelled thus far. We passed over endless miles of sun-baked highway as we came into Louisiana while the bass of “House of the Rising Sun” rattled the windows. The bayou swamp grew thick and deep around us before it receded, and we climbed into the belly of the beast called New Orleans. The music cut out for a moment as Justin took a business call. He takes a few calls throughout the day, every day. With the release of Ever Since I Lost My Mind just over two months away, there are countless moving pieces he needs to be involved with. The silent talking in the front seat carried on for 5 minutes, then 10. He hung up and sent a couple emails. The music turned back up, and the ride carried on. It didn’t take long for us to pull up outside the one-floor walk-up where the show was scheduled to be. We did a quick unload and set up for mic check. “I’ve truly never seen anything so beautiful,” Pete said through his Arkansas accent as he stared at the barn-style interior of the house. “I swear,” he would later say, “I’ve had dreams about places like this.” Pete’s dream venue in NOLA. Photos by Matt Harrison. After setting up and checking the levels, Justin, Igoe, Van the Good and I each took a sprinkle of psilocybin mushrooms and went next door to the Mellow Mushroom. Whether you’ve taken anything mind-bending or not, the art on the walls inside the psychedelic-themed pizza chain have melting frames, and a two-foot-wide eyeball greets you at the end of an upstairs hallway. The mushrooms took a gentle hold of us while we sat around gnawing on pizza. We hadn’t taken enough to mould our skulls like hot putty, but still enough to feel the gaze of the warped portraits on the wall staring back at us. “As if we ate mushrooms and came to the Mellow Mushroom,” Justin said in a moment of realization while he sent a curious glance about the room. Photos from Mellow Mushroom. Photos by Matt Harrison. “Yeah, yeah!” I said, excited he arrived at the same thought I’d been carrying. “There’s something deep and poetic at play here.” “Man, I hadn’t even thought about that,” he answered, chewing slower on his pizza. “I’ve been thinkin’ about it the whole time, man,” I said with feral eyes. Sometimes when you talk to Justin you forget he has the words ACID BOYS tattooed across his knuckles. Then you catch a glimpse of them, and you remember you’re talking to the King Kid of the ACID BOYS, the head of something whimsically psychedelic. He told me at some point he was one paper away from finishing his anthropology degree when he decided to steer headlong into music, getting his knuckles tattooed as an act of commitment. “When I got my knuckles tattooed people hit me up like, ‘Hey, are you alright?’ I guess it’s a pretty intense thing to do. It didn’t seem like such a big deal to me at the time.” Before we went back to the venue, two fans from Fort Worth, Texas came up to the table and bought a round of shots for the group. They also offered a gift: a beautiful glass marijuana pipe, which was immediately dubbed The Gift Bowl. The table threw back their shots before going back to the venue next door. We each took more mushrooms and hid away in the green room while Justin Peter Kinkel-Schuster performed. We could hear him singing “False Dawn” through the walls. “He’s so good,” I said to Justin about Pete’s singing. “And we just get to sit back here and listen to him play,” Justin answered with a look of disbelief. “Pete’s honestly one of my heroes. I’m so lucky to be able to be on the road with him.” Justin told me about a side project he and Igoe have with their friend Darby Wilcox. “We sing a cappella but we only do one song. You ever heard “Down By The River To Pray”? We just do that one over and over.” “Maybe we should do another song,” Igoe suggested, between sips of her drink. “Yeah, but we just keep crushin’ that one. If it ain’t broke…” he said, trailing off and shrugging. The room breathed a quiet laugh as Pete’s singing continued through the wall. A train wailed in the near distance and it was time for Igoe and Justin to take the stage. A wire outline of a bull’s skull hung above the bayou-themed stage. “Hey everybody. Thanks for comin’ to hang out. It’s good to be in New Orleans tonight,” Justin said to the crowd as they took the stage. “This story actually involves this guy whose walkin’ down the stairs right now,” Justin said, watching his friend Nick Woodley come down the stairs. “Fuck you,” Woodley said, laughing as he stepped into the room and took his seat. “Proper,” Justin said with a smile. “Woodley and I used to live together in a house with about a dozen other people. Around that time, I started getting to know my granddad. I knew he was a shithead, but I thought maybe he was cool. The thing about my grandad is he’s a world class Shag dancer. Every Friday night he’d go down to this place called the Circle Fountain and shag.” “One night, me and Nick were there, and we went outside with him to smoke a joint. He says, ‘Now boys, the reason why I smoke a little marijuana before I dance is because it helps me feel the beats between the beats. Now that’s deep, that’s far out.’ “We’re just like, yeah, Larry, far out. “This song is also a medley because at the time I was single as hell. This is so embarrassing to say, but I was creepin’ some people on Facebook. You know when you wanna talk to someone, but you never do? This song’s partially about that feeling of never sending the message. So, this song is about those two things that have nothing to do with each other, but they worked well as a song. It’s called ‘Circle Fountain’.” As the show went on, I felt the mushrooms peak. I knew it wasn’t real, but I feared with a psychedelic certainty I would feel every person standing behind me if I ran my fingers through my hair. Before long the show ended, and we retreated into the green room. “Great show, man,” I said once Justin stepped into the room. “Guten tag, dawg,” he said, cracking the top off a Budweiser. “I was fucked up while you guys were up there,” I said. “So was I, dude,” he said, turning toward me with wild fear in his eyes. “I wasn’t even sure if I was playing the songs right for a while. The mushrooms had me feelin’ real anxious up there.” You could tell at the outset, as he told the first story of the night, that he was tuned into the room at a different frequency. But Justin Osborne is a professional, and as the night carried on, he shook those psilocybin jitters, and put on another unforgettable show. We all chewed up a bit more mushrooms, and Justin grabbed an acoustic guitar and strummed the chords to “Good Riddance (Time of Your Life)”, singing along with the small group standing around him. “My aunt used to make so much fun of me when I would sing that song,” he said once he finished. “It was one of the first songs I ever learned to play and sing, and it was just bad.” An hour or so later we left the venue, smoked The Gift Bowl and took more mushrooms before arriving at a bar that sent bass vibrations through the wall and down the street. The dance floor appeared immediately as we walked inside, and the drummer on stage carried a smooth rhythm. The piano rode his groove like a wave and the bass player at center stage leaned into the mic as he sung us a question through his raspy voice: “Lord, can you feel that it’s true?” “That bass player,” Nick Woodley leaned in to tell me, “he’s from a classic New Orleans band. His name’s George Porter. He was in a group called the Meters.” Woodley would later tell me, “That’s one of the things about New Orleans; everywhere you go, the musicians are top notch. Do you feel that? It’s that New Orleans funk. It hits you right in the soul, man.” Once it came time for last call, Igoe, Justin, Van the Good and I piled once more into the van and rode through the deceptively quiet streets of New Orleans.The neighborhood we spent the night in seemed somewhat shady, so we did a full unload when we pulled up to the Airbnb. “Should we get the groceries n’ shit?” Van asked after the last guitar case hit the floor. “Nah,” Justin replied. “If someone breaks in over that, fuck ‘em.” Pete was already in bed when we arrived, so the four of us sat around the living room. Justin took a seat in an absurdly large yellow chair, looking happy as can be in the thing. “Any of you guys ever been arrested?” he asked after the conversation died down. “One time I pulled a gun on this guy and I almost got arrested for it. I got detained in the back of a cop car for a while. That’s what the ‘shotguns at my chest‘ line is about. One other time I was coming home from Cleveland and they stripped the van. That guy let me go, but I thought for sure I was going to jail that day. I’m not very cooperative with cops, though. Except with the gun, because they had guns and I had to make sure I gave them no reason to shoot me. It was my fault, though.” The next morning, we packed up and headed into the French Quarter. The sun glowed brighter than any other day on tour, making it the perfect day to get stoned and walk around New Orleans. Justin took a business call once the van was parked. The lighter flicked as soon as he hung up, and the van filled with smoke. The doors flew open and a reeking grey fog billowed out as we took deep breaths of the morning heat. “I can already hear the tubas n’ shit out here,” Justin said as we stumbled out into the streets. We wandered a few blocks in no particular direction before stopping at a random restaurant on a random street. When we stepped inside, the stink of weed still hung fresh on us. Accordingly, the server put us in the back in a separate room. “VIP seating,” Justin said with a glossy-eyed charm. We met up with a friend from the night before and started to share stories about our experiences with edible weed. “I have a buddy who’s afraid of edibles,” I began. “One time he was at a fishing tournament and he took some edibles and sat in his boat in the middle of a lake, surrounded by 30 other fishermen. He started worrying about how he would react if he caught a fish, so he reeled his lure within 2 feet of the boat and sat like that for two hours so he wouldn’t catch anything.” “Yeah, man,” Justin laughed. “One time me and a friend ate a medical candy bar and we had no idea what we were getting into. We were in Denver and I started having a panic attack and I couldn’t breathe. I was all stuffed up already. She was out of her mind, too. She said she just kept doing math problems in her head.” “My sister never smoked weed and she texted me one day and said she took a half a candy bar that said 100,” Igoe said, and a nervous hush fell over the table. “She had a blast. That woman has the tolerance of a linebacker. She said she was so high she was at a kiosk to buy snacks and she turned around and everything on the shelf knocked on the floor. She just looked down at it and smiled and walked away because she was so high.” “Run away!” Justin laughed. We payed up and walked out, into the warmth where musicians were hidden away around every corner, the echo of their instruments ricocheting off every building. We wandered elsewhere, the sounds of these silent daytime streets broken only by the fading noise of the brass bands and the cuh-clop of horse carriages. Photos by Matt Harrison. We met up with some others from the previous night’s show before stumbling upon the “Oldest Bar in America“, which we had apparently parked next to. By mid-afternoon, the van hit the highway with New Orleans jazz turned all the way up. Igoe passed The Gift Bowl and a cigarette to me over the seat while we tore through the first part of what would be a seven-hour drive. This felt like an important place to be; with good people who shoot the straight and narrow, the parameters of which they define for themselves. To them, that’s a life deep within music where they are good to each other, and good to the people around them. Trucks of all sizes flew past us down the highway and we drove until the sun cast a horizon light. “Everyone’s got a small pecker compared to God,” Justin said, not quite out of nowhere. “God is the beginning, brother,” Van added at the heel of Justin’s observation. “God is the beginning and the end, dude,” Justin said with a tone of ecclesiastical correction. “Yo, there’s a hawk or a falcon or somethin’,” Van said, pointing out the window. “Yo, I believe in those kinda signs,” Justin answered. “People really wanna think that they know what’s going on when they commit to believing in God. What you have to commit to is not knowing. Just try to feel the vibrations and ride the wave and try to make life, which I believe ends at death, as good a ride as you can.” As he finished his thought, we pulled into the parking lot of Outback Steakhouse and piled in. “Hi,” Justin said to the host, “we have a family of four.” Once we hit the table, Justin and Van fell into a conversation about merchandise distribution. “Actually, you shoulda been on these calls” Justin said referring to an email chain Van was seeing for the first time. “We thought we’d just tell you about it, but you shoulda been in on the calls.” SUSTO is farther along than most bands at their level as they already have a system in place for sales and merchandise production. The two of them weighed the benefits of changing or keeping various attributes of merchandise distribution. They talked for another 10 or so minutes, getting Van caught up on what he missed and what their options are moving forward. The conversation changed when our food arrived, and “Jingle Bell Rock” came on over the restaurant speakers. “Holy shit,” Justin said, staring at his phone. “I just got a text from my mom that says, ‘I just wanted you to know how much I like your new song, Homeboy. It’s catchy and I’ve been singing it to myself all day. Love you and hope you’re doing well on the road. Stay safe.’” He put his phone down on the table and looked around at us with a look of shocked disbelief. “She has never said anything like that to me about SUSTO.” Once we were back in the van and ready to clear out, Justin said, “I can’t believe my mom texted me, man. It almost scared me.” We got up to the usual business when we got to the hotel that warm night in Opelika. Van the Good and I stayed up a little later than Igoe and Justin. We sat in the van with the music turned all the way up, passing a joint back and forth while we shattered the silence of the night. We cleared out of the hotel by 11:15 the next morning, and arrived in Columbia, South Carolina by late afternoon. Justin and Jordan played a few songs for Scene SC in a large warehouse attached to the White Mule that was once a taxi garage. The warehouse held a damp chill and the show lights cast a dim ray from the open ceiling beams. At this point I refused to accept there would soon come a day where I would go back to my real home. I found myself clinging desperately to the trip and the excitement of being on tour. I rejected the thought that my life is anything other than what it had been for the two weeks I had been there. Though it hadn’t even been that long. It only ever was 13 days. Justin, Igoe, Van the Good and I sat around the green room at the White Mule when Pete came off the stage. “Man, there’s some people out there,” he said of the sold-out room. “Were they nice to ya, Pete?” Igoe asked. “Well, no one said anything mean or unkind.” “Does that usually happen?” she asked again. “No, but I’m just up there a-pickin’ and a-singin’ so their attention is the least I can ask for.” “I’ll need a couple bottles of water and a shot of tequila,” Justin said to Van before it was his time to hit the stage. “Up there, can I get a glass of water and a shot of tequila. A Budweiser or something, too. Something light. Maybe two waters.” “How do you feel at a time like this?” I asked as Van left the room to place Justin’s order, minutes before show time. “I feel pretty fine. I’d probably be more anxious if I wasn’t more anxious about being home. Tomorrow I’ll probably be a wreck. Now that you mention it, I’m starting to get nervous. Closer to home, the harder it is to separate my anxiety. Once I’m up there I’m fine, it’s just leading up to it I feel like this.” He paced back and forth in room, rubbing his hands together. “It feels like a tease to get to go home for just one night.” Van came back with Justin’s pre-show order while the rest of the order awaited him on stage. He threw back the shot before Van lead the way out of the green room. The noise of the crowd grew as we came closer to the door. The house music thumped along as we walked down the cement corridor, turned right, and entered the show room. The few people who saw Justin come in looked at him with excitement. A few people whistled when the house music fell silent. Justin strummed a couple notes on his guitar and the chatter of the crowd fell away. “Hey y’all. How ya doin’?” he asked before the crowd cheered, raising half empty drinks as they did. “We’re gonna play some old songs, some new songs, and I’m gonna talk a lot, which y’all should have expected, because that’s how we advertised it.” When I came down south, countless SUSTO songs reminded me of people I know or situations I’ve been in. As I watched these many shows, and heard these stories, I realized how much I had taken Justin’s music as if it was my own. Not that I ever thought these songs were written about my life, but I had somehow lost sight of the fact these songs were written about someone else’s real experiences. Throughout this tour Justin’s music was reclaimed from my greedy mind. It put real faces and real names to these stories. These songs, these hymns of hard times and “Hard Drugs”, these are pieces of Justin’s life. He said to me some forgotten night before he took to the stage that telling SUSTO Stories feels like telling ghost stories. Each night, as he tells these stories, he resurrects the spirits of his past for the hour he’s on stage before the amps cool off and these memories are laid once more to rest. “Alright, we’re gonna do something special now,” Justin said, looking over his shoulder as Van the Good stepped on stage with his own guitar. “For this next song we’re gonna bring our Tour Manager Van onto the stage. Van lives right here in Columbia, and for his hometown show he’s gonna play with us on stage.” Van gave a nod, and together, Justin, Igoe, and Van the Good played “Wasted Mind” for the sold-out room. They finished the show on “Homeboy”. The crowd screamed and applauded as Justin and Igoe left the stage, leaving through the same door they came in through. They stopped in the back hall and decided what songs to play for an encore while the crowd roared louder and louder. The two of them came back through the door, the room erupted, and the show carried on. The show finished with a two-song encore. “Is this my first life, or is it my last life? Am I ever gonna make it to Nirvana, am I ever gonna see God?” Justin sang at the outset of the last song of the night, “Cosmic Cowboy.” The whole room raised their drinks and sang along as he sang the final chorus: “Always screamin’ fuck the cops! I’m a Cosmic Cowboy.” “I’m so glad you guys are meeting,” Justin said, pointing from me to a gentleman named John Roberts while the three of us sat around the green room after the show. “John is the official psychedelics provider for SUSTO. You two have a lot to talk about.” Just after we shook hands and fell into a bit of small talk, a drunk young lady stumbled in. “I didn’t mean to come in here,” she said, slowly. “Hi, yeah, you’re really not supposed to be back here,” Justin said with a light smile, sending a glance my way that said I’m not sure what’s about to happen. “I was just trying to find the bathroom and yet here I am,” she said. “Yep, there ya are,” Justin said with a nervous laugh as she slowly walked toward him. “I didn’t mean to come in here, and here you are,” she said, alluding to a premonition of some sort. “We’re actually in the middle of a conversation about drugs right now,” Justin said pointing at John Roberts who, judging by the reaction that crossed his face, didn’t expect that level of honesty to come about. The young lady was harmless and just happy to be there. She showed Justin a tattoo she had on her ankle that, if memory serves correct, said ACID GIRLS. A few minutes after her came another fan who was equally shocked to have come into the green room through the door. “You inspire a lot of my songwriting,” he told Justin once he’d settled into the room. “That’s a big honor,” Justin said. “There are a lot of bands that have been a big inspiration to me, so to be that for you means a lot.” The young man played a song he wrote called “Rusty Knife” and sang with a powerful and passionate voice for Justin, John Roberts, the ACID GIRL and I. Van the Good came in for a minute, confused and ready to throw out the newcomers. Justin gave a brief explanation of the situation, telling him all is well. As Van left the room, he told me, “make sure everyone’s out in five minutes.” “Sure thing,” I said, unsure of how to clear the room but thrilled to have been promoted from Roadie to Bouncer. I leaned against the green room door frame while the two guests talked to Justin, hanging on his every word. Down the hall, a woman in her 20s rounded the corner. She looked at me the way a drunk tiger might. “Is Justin in there?” she asked, a hip cocked in my direction. I looked into the room at Justin and his already full hands. “Nope,” I said with a shrug. She stared at me a moment longer before she wandered off to become someone else’s problem. After the two people left, John Roberts and I went for a walk about the venue. We talked about some books each of us had read and he explained to me the role LSD plays in his meditative practice. “I would offer you some, but I don’t have any in my hotel room,” he said, looking disappointed. I had wondered if the chance to try LSD would come my way while I was on the run with the Acid Boys. This appeared to be my answer, and I was just fine with it. John Roberts helped me pack the van and I told him I looked forward to seeing him at the show the next night. Van the Good stayed in Columbia for the night while Justin, Igoe and myself smoked a joint and hit the road for Charleston. Check out more from Susto: Website | Facebook | Twitter | Instagram

November 17, 2019 Bulldog Event Center All photos by Nicole Malcolm Photography.

Shared post with reasonablylate.com. Go give them a follow on Instagram. Release Date: February 22, 2019 Genre: Indie Rock, Alternative Country, Americana Label: Rounder Records We were passing around a post-show doobie-joint in Louisville, watching the security guard of the neighbouring property drive the perimeter of his jurisdiction with a burnt-out tail light. “We’ll play the new album for ya tomorrow on the way to Nashville” SUSTO frontman Justin Osborne said to me from the front passenger seat. I sat in my same back row seat the next day when we hit the road and I first heard Ever Since I Lost My Mind. The sounds of silence hang momentarily before the sharp pattern of acoustic strumming brings listeners into the newest SUSTO album. “Homeboy,” the first track on the album, is a rhythmically fluid and lyrically evocative anthem of the rising tide among Osborne and those he’s come up around in the prolific Charleston music scene. It’s a catchy and inspiring track that causes one to consider their potential, be they a musician or otherwise. Rolling in as a light alternative, “If I Was” will have your shoulder dancing along before the lyrics come in. “If I was a saviour,” Osborne begins, “I’d help all the people get saved/ Dunk their heads under water just to make sure that they’re all okay, they’re all alright.” The song carries on this theme of giving in the lines “If I was a writer, I’d try to suck you all in/ Put out some real page-turners that you’ll never ever wanna put down again.” As the song comes to a close the instruments gradually drift and mingle, seemingly on their own. The band was sharing an LSD trip in the studio and the music took that wavelength for a ride. At the song’s natural conclusion those final notes hung together, floating along in an unchoreographed stream of celestial interconnectedness. At the midway point is “Last Century,” a powerhouse track that puts SUSTO’s rock and roll aptitude on display. It’s the sort of groovy tune you’ll turn up every time you hear that first sliding note. In the latter half of the song the band drops into another gear, putting listeners under a psychedelic trance of slow-motion rock and roll euphoria before the tempo picks back up and roars into the closing chants; “Hey man, you got the last century, the last century right; Hey man, I’ll see you on the other side.” You may have missed too many episodes of Dora to understand what “Está Bien” is about, so I’ve gone ahead and written up the drunken translation Justin gave me on the last night I was on tour with his crew in Macon, Georgia. Once you’ve read it, you’ll see how the song is not only aesthetically beautiful but deeply mantric. “I hope Esta Bien can be used as a tool to teach simple Spanish while sharing a positive message” Justin explained to me that night in Georgia, “something parents can share with their kids to teach them something good.” After tiptoeing through the dreamscape of the seventh track, “House of the Blue Green Buddha,” you will be ripped back to reality when “Livin’ in America” comes on. This song captures the enjoyment of turning up the amps, subsequently pissing off your neighbours and scaring the dog. “It’s meant to come across as sarcastic,” Justin said while he, Van the Good and I smoked a 5 am joint in Macon. “America is fun as fuck. I mean, I get we’re fucked up, but it’s fun.” And then you’re back, neck deep in the mellow, lost again in the serenity of the album. The title track, “Ever Since I Lost My Mind,” brings a fleeting scent of freedom; the equanimity of nomadity. “This is our fuckin’ hymn out there on the road,” Justin said, looking out the same windshield through which endless miles have passed him by. “You’ve just entered this life” he nodded to the newly appointed tour manager, Van, “and you’ve sampled it,” he nodded back to me, “but this has been my life for 15 years.” Before you know it you’re at the end of the ride. “Waiting on the rain to just stop / I’m three weeks off cocaine and that’s rough” Osborne sings, shameless in his humanity in the final track, “Off You.” What many connect with in Osborne’s songwriting is his unrelenting and continual honesty. His lyrics offer personal insight that emboldens the understanding that those who struggle within themselves are not alone. “I can’t seem to get myself off of you” are the words the album closes on, shedding a final streak of light on that which Osborne still works to overcome. Songs unmentioned here were cut for the sake of relative brevity. Among them is the third track, “Weather Balloons,” which was written the day after an acid trip during a Charleston snowstorm that shut the city down. Much of this album can be heard on repeat until your headphones give out. However, when listened to as a single entity, this album reflects the mind of an artist working through his pains who recognizes the beauty and bliss around him. I was standing outside the door of Rialto Row on my last day in Charleston, still fairly stoned and about to head to the airport. SUSTO was inside for their first full band practice since recording the album. The peak of “Last Century” roared through the door with the same force found on the album. What the future holds for SUSTO remains to be seen but those last lines I heard through the door paint the picture of expectation; “Exercise in the early mornin’ / Let’s try and get one for the radio.” Check out more from Susto: Website | Facebook | Twitter | Instagram

Currently headlining sold-out shows in North America, multi-platinum-selling artist Dean Lewis today announces his highly anticipated debut album A Place We Knew will be released worldwide on Friday, March 22nd. A Place We Knew is available to pre-order HERE The global singer-songwriter also announced dates for his headline ‘A Place We Knew’ Tour in May, heading to Sydney, Brisbane, Perth, Adelaide and Melbourne with his band. Fans should get in quick if his previous tours are anything to go by, with shows selling out in record times. Still on a high from his current hit single 7 Minutes reaching #6 on triple j’s hottest 100 and # 1 on TMN Hottest 100 Airplay chart, the track has now been accredited GOLD in Australia. Written in London in a Uber following a disagreement with a girl, the single has touched a chord with fans and media alike having been streamed over 25 Million times in just 4 weeks. 7 Minutes will be included on Dean’s debut album along with his global hits 6 x Platinum ‘Be Alright’ and 5 x Platinum ‘Waves’. LISTEN TO ‘7 MINUTES’ HERE For Lewis, the title A Place We Knew encapsulates the bittersweet memories of past relationships. “All the songs were written through relationships I’d been in and houses I used to live in and hotel rooms.” On a plane he heard a phrase that struck him like a bolt of lightning, “An in-flight-radio DJ said, ‘I wish that was a place we’d known about’ I went to my notes and wrote ‘A Place We Knew’ and was like, that’s the album title. That ties everything together.” Lewis sought out several producers to collaborate with on his new album. The British team behind ‘Waves’ and ‘Be Alright’, Edd Holloway and Nick Atkinson are ever-present and so too is Melbourne’s John Castle (‘Don’t Hold Me’ and ‘Chemicals’) and Dann Hume (‘Time to Go’ and title-track ‘A Place We Knew’). Sydney-based producer Dylan Nash, whom Lewis refers to as “almost like the co-producer for the whole album”, ties a thread between the 12 songs that were written and recorded all over the world giving A Place We Knew its cohesive sound. From the uplifting ‘Hold Of Me’ and the celebratory ‘Stay Awake’, to his rawest and most vulnerable tracks ‘Don’t Hold Me’ and ‘Half A Man’, Dean’s debut album demonstrates a far greater breadth and depth to his songwriting than ever heard before. In addition to writing every song on the album, Dean triumphantly plays piano, acoustic and electric guitar on A Place We Knew. With over a billion streams of his music globally and being named Billboard’s “Chart-Breaker” in October, Dean has been dominating charts all over the world with his single ‘Be Alright’. In Australia, ‘Be Alright’ was the second highest-selling single from an Australian artist in 2018 and the fourth highest-selling single of the year overall. Globally the single has now reached over 630 million streams achieving multi-platinum, platinum and gold status sales worldwide. A PLACE WE KNEW TRACKLISTING Hold Of Me 7 Minutes A Place We Knew Stay Awake Waves Be Alright Chemicals Straight Back Down Time To Go Don’t Hold Me For The Last Time Half A Man Dean Lewis is currently playing his first North American headline tour with shows sold out from Los Angeles to New York City. He will return to Australia in May for his A Place We Knew National Tour. DEAN LEWIS DEBUT ALBUM ‘A PLACE WE KNEW’ IS OUT MARCH 22 INSTAGRAM | YOUTUBE | FACEBOOK | TWITTER | SPOTIFY | APPLE MUSIC | WEBSITE

Shared post with reasonablylate.com. Go give them a follow on Instagram. Jayvaun Gabriel, or Phre$h Prince as he has come to be known on stage, is a Winnipeg rapper whose career first began in middle school with the motivation of a teacher. “My English teacher was proud of [the poems] I was working on and was trying to push me to do more,” he told me over a large coffee had on a small table. At the time poetry wasn’t the sort of thing Jayvaun would spend his time doing outside of school. After handing in an assignment his teacher was particularly fond of, Jayvaun was encouraged to read the piece in front of his class. It was this experience that inspired what would eventually become his music career. It was around a year and a half later, with the help of some friends made along the way, that the Phre$h Prince would come to record music for the first time. To him, this was a clear exhibition of what could be made in the creative process. The potential of his effort now had new horizons. For the first time, he was able to create something greater than the poetry he had been filling scribblers and notepads with. After having recorded that first song, the friend who mixed the track titled it Fre$h Prince for no reason other than he had to name it something. The friend then asked a simple question; What are we calling this? “I didn’t have an answer” Jayvaun laughed, thinking back, “so he asked, what’s your name? I didn’t have an answer for that, either. So he says, well, it’s called Fre$h Prince, we might as well roll with it. And I thought, okay, let’s just roll with it.” It was a friend from that same social circle that brought the Phre$h Prince to perform on stage for the first time. It was a week after working on some other recordings that his friend approached him with a proposition; Would you be down to try performing? At first, Jayvaun was skeptical. “Ehh, I don’t know,” he recalled saying. Well, his friend went on to explain, I got you a performance, so you can’t really say no. “That was kind of that. I spent that week stressing over it.” Despite the stress and involuntary nature of the scheduling, Jayvaun followed through and stepped on stage for the first time at the end of that week. Looking back, he humbly describes the performance as having gone “pretty smooth, for a first show.” When sitting down to write, Jayvaun prefers to be on his own in a relaxed environment which sometimes calls for a dimly lit room with candles or incense. “At that point, it’s just kind of gathering my thoughts and thinking about the month or the week that’s gone by.” One important aspect of his writing is capturing truth and authenticity. This can sometimes lead to unearthing thoughts or emotions he doesn’t want to deal with. “There are times where you don’t want to write about things or think about things, but you can’t avoid it.” He went on to describe the times when he has the perfect beat, the perfect sound, but doesn’t like the subject the song is revolving around. “If I go to a different beat, the subject will remain the same.” Moments like this have allowed Jayvaun to realize the power of using music to get through problematic thoughts and issues. He has also learned the importance of sitting down and working through these thoughts in any facet. Though he doesn’t listen to his own music all that often, Jayvaun finds that when he does it has a therapeutic nature. The feeling of oh, I’ve been through this before that comes with being able to hear himself rap about his issues can help him make sense of things going on in his life. As if speaking to himself through his own music as a friend would. “[When] I sit down and play it, it just feels like oof. I can feel it in my feels, you know?” Jayvaun allows himself to flow along with the rhythm of life’s rivers. What comes his way is what he works with. Though he had little say in the matter of his first performance, he steps out on stage today with the confidence to perform as the Phre$h Prince. “I used to think I was afraid before going on stage,” he once told me, “then I realized it’s not fear, that’s adrenaline.”

Shared post with reasonablylate.com. Go give them a follow on Instagram. Release Date: June 29, 2018 Genre: Folk, Country, Bluegrass Label: Hickman Holler Records Live on Red Barn Radio l & ll isn’t the sort of country music album you’ll hear billowing from the open sunroof of a blue Honda Civic waiting outside a hot yoga studio. Instead, it’s a compilation of two live performances played on guitar, mandolin, fiddle, and banjo, all in perfect harmony with the one-of-a-kind voice of Tyler Childers. An East Kentucky Man of Constant Sorrow, Childers' voice harbours a distinct streak of pain and a generous splash of whiskey. The songs on this album are the sum of hard times and hard truths. They each contain heartfelt and honest lyrics about loss, love, and the haunting mistress of strong drink. Tyler Childers writes and performs with the disturbing poeticism and power of Townes Van Zandt mixed with Kurt Cobain, offering listeners a raw, unashamed look into the core of himself and his miseries. The standout track on this album is titled “Whitehouse Road.” The lines “Rotgut whiskey gonna ease my pain/ And all this runnin’s gonna keep me sane” flow into the chorus like a torch stream into the Lake of Fire. “We’ve been sniffin’ that cocaine/ Ain’t nothin’ better when the wind cuts cold,” Childers wails with a distant harmony sung by the Devil sat atop his shoulder. “Lord, it’s a mighty hard livin’ / But a damn good feelin’ to run these roads.” A chilling and honest ballad to the renegade life and that which Childers has found in the granulated embrace of the long white line. Found at the end of the album, “Follow You to Virgie,” puts the breadth and complexity of Childers songwriting on full display in a piece dedicated to the memory of the “Mountain Beauty” he had once known. “Yeah, I reckon we were heathens / But in her eyes we were saints” he sings, referring to the grandmother of a high school friend who had, in a sense, become a part of his own family. This song shares the moments spent “making sense of all these strings” with her as the sole audience member. “I can see her in the corner / Singin’ along to all our crazy dreams” Childers sings, surely finding solace in those unshakeable memories. This concert album rolls with the rhythm of a man on the run from himself. From “Deadman’s Curve” to “Whitehouse Road,” listeners are taken on a journey through Hell and most of the way back. Though this self-proclaimed heathen leans on the Faith of his upbringing in his songwriting, this is by no means the sort of music to share around the fire at Bible Camp. These songs were written by a man with good reason to fear his God.

Shared post with reasonablylate.com. Go give them a follow on Instagram. It was a humid June evening teetering on the edge of rainfall that I first met singer/songwriter Sophie Stevens for what was intended to be an interview for a piece about the space she writes her music in. As we sat and talked, the flower of this artist's mind blossomed to explain the method behind her songwriting. Playing piano from the age of 10 and guitar for the last five or so years, Sophie has been something of a musician for much of her life. The leap to writing her own songs was first made last summer after attending Shine On music festival. It was there she first had the realization that music is a viable avenue to steer her life into. Until that festival, where she encountered local artists who helped to inspire her, she had never considered music as something she could actually focus her time and energy on with real fervour. “You know,” she went on to tell me,” you can have big dreams, but most of the time Good Old Capitalism kind of [says] Nope, your dreams aren’t going to happen.” Since taking time away from her studies to pursue this idea that was once only a dream, Sophie found the move to songwriting to be comfortable and resoundingly positive. She recognizes, too, that there now exists the potential for her to begin resenting the music process due to the fact that she has now made it her primary duty. Thus far her shimmering optimism prevails and her love for music and songwriting remain unwavering. Something Sophie has come to find is that the songwriting process is very much a skill. This skill, as is the case with any other, requires dedication, time, and focus. Sometimes she will be struck with a bolt of inspiration straight from “the heart, or the soul, or wherever it is that music comes from.” Other times she’ll sit down with her guitar or piano to create music and lyrics off the top of her head. Regardless of whether or not inspiration strikes, Sophie is continually working to practice and improve her songwriting. One aspect that helps her to draw the motivation to regularly sit down and work on her music is the obligation she’s created for herself to post a video of a song -one she’s written or otherwise- to her Facebook page on a weekly basis. She uses this self-imposed contract as motivation to sit down and dive into the thoughts that come dancing through her mind to one melody or another. Typically she’ll find the time to sit down and work on a song when she has a melody or a chord progression that she’s particularly fond of. As is the case with any poet, Sophie acts as a biographer of life’s glory and pain, continually on the prowl for a new way to project what can either be a euphoric dance or a sordid trudge through this world. Sometimes she’ll write on the bus while other times her writing comes from being in the throes of a “good old emotional breakdown” in which she’ll think “oh, those are some sweet lyrics right there.” One particular attribute of songwriting Sophie has the greatest appreciation for is the aspect of having the attention of the crowd. Whether or not the listener wants to hear the words that are being sung is secondary to the reality that they are listening to the music Sophie has written. “I find that conversationally people aren’t always listening,” she explained to me some two months later, in the basement of someplace with a pinball machine drawn from the background of a Stranger Things episode. “I find that most times people are just waiting to say what they’re going to say next.” Moving forward, Sophie hopes to be able to compile the work she’s created to release an album. She has taken to performing with full bands with interchanging people and instruments which is a step in a new direction creatively as her performances have until now been primarily by herself on the piano or with an acoustic guitar. “It’s really cool to be able to write songs by myself but to be able to collaborate with people and hear what they have to say about my music, or their music. It’s just a lot of fun.” A smidgen over a year ago Sophie took to this project with the hope of making the most of her greatest passion. Today, as she continues to write and perform, meet new musicians, and expand her artistic horizons, Sophie Stevens has turned her dream into a plan, and each day that plan comes closer to becoming a reality. Check out more from Sophie Stevens: Facebook | Instagram | Youtube

Shared post with reasonablylate.com. Go give them a follow on Instagram. It was late in the evening of June 28th that I walked through the front doors of the beautiful Centennial Concert Hall. I ambled a lap about the place before happening upon the doorway that stood between myself and my seat. I stepped through the door, scaled a flight of winding steps, and crept out into the darkness, and the music of Dan Mangan. I couldn’t make heads or tails of which seat I’d paid for or where that seat could have been in relation to where I was. I took refuge in the first seat I saw in an empty row at the back of the orchestra section for the only song I’d hear of Mangan’s. The one song I caught brought a ticklish burn to my nose and tears to my eyes that weren’t so heavy they would fall. Featuring Mangan alone onstage with an acoustic guitar, the song “Basket” is about his grandfather and the failure of his memories that came with the failure of his health. Perhaps it was the idea of singing for one who will never hear these words, so precious to the singer, that brought me to the edge of tears. I thought of my own grandfather and the conversations we’ve had, or, more accurately, the conversations I’ve spoken aloud to no one when he comes to mind on long and lonely nights. I tore my eyes from the stage, looked down the vacant row next to me and hoped to see him, somehow sitting there, sipping a beer. It’s not worth mentioning what I would have given to see him in any of those seats rather than the empty darkness that instead was. Once the song ended and the next had just begun an older-looking couple towered over me with flashlights, reading their tickets and cautiously eyeballing the chair I sat in. Before they attempted making sense of the confusion, I stood up and walked back down the winding steps to the lobby. After a bit of forgettable wandering, I tiptoed back into the performance area and found my seat while the house lights were still on. I had forgotten my glasses at home so I figured I may as well cross my already blurred vision. A quick run for drinks had me back in my seat midway through the song “Afternoon Delight”, played through the house speakers, synchronized with the stage lights. The crowd gave their best collective impression of Anchorman’s Champ Kind as they whooped along after “skyrockets in flight…”, all other parts of the song a jumbled half mumble that was never known well enough to have been forgotten. The band meandered on stage soon after the song ended and the crowd erupted once lead singer JJ Julius Son came out and gave a quick bow. Guitarist Rubin Pollock stood to stage left with what looked to be a rectangular-bodied black and white Rickenbacker, though without my glasses it could have been anything. He would later play on a sunburst style Les Paul from the now bankrupt Gibson company and later a Fender Telecaster. The singer came out with a Telecaster, perhaps the same one. He later strummed a few songs on a simple-looking acoustic resonator. The night began with “Broken Bones”, a song about a chain gang inmate who promises “the Devil’s gonna make me a free man.” A bluesy tale played with a grainy tinge -found both on the album and heard in concert, “Broken Bones” tells of the inmate's miseries and the duty he has to the Devil, and himself, to snuff out some indistinct character the listener never comes to know anything more about. One of the biggest responses from the crowd since the show began came with the start of “Automobile,” a playful tune about whipping down an empty stretch of desert highway with a few bottles of rum in the backseat, Mexico bound. At one point in the story, the singer finds himself buying his way out of any trouble with the Federales by parting with a few dollars and a bit of rum. A small price paid for high-speed freedom, by any account. “This is one we particularly enjoy playing” spoke JJ Julius Son in the latter half of the set, “because it’s the only we one sing in our native tongue.” With that, the map of Iceland that hung high behind the band began to glow and one lonely guitar began picking the opening notes of “Vor í vaglaskógi”. Sang entirely in Icelandic, it was the only song from the album that had only a handful of audience members singing along. Hearing only the singer’s voice, unimpeded by the screaming crowd, is the only appropriate way for a song with this sort of melancholic dramatism to be properly felt. Through the entire song stood one man with a single lighter held high. For a moment his lighter was accompanied by someone directly behind him, and again on the top balcony. As those lights wavered, then flickered, then vanished, that one standing light held its burn throughout the song. As if the song fueled the flame and the light bearer played the part of middle man between something unspoken between the flame and the music. That one flame held until the words had all been sung, the band fell away, and the once again lonesome guitar drifted slowly into silence. The performance was the sort to never be forgotten. The raw power of the singer and the instruments backing him sounded just as they did on the album. The runtime was in the area of an hour, which is fairly standard, but I hoped Kaleo would be among those shows that seemed endless. Perhaps they can only play for so long due to the rip in Son’s voice. One can’t imagine he can do that too deep into the night without risking the quality of performance in whatever city they’re due to play next. The general murmur amongst fans as we filed out was one of unspent energy. I suspect this came in part due to two of the ten songs -“All the Pretty Girls” and “Glass House”- from their only available album, A/B, not making the setlist. There is also the factor of expectations for a show that has been sold out for months -with few if any tickets going up for resale- being so high they are impossible to meet. One thought I had as I left the venue was why the choice was made to not play those two songs and instead play five new songs, until that night unheard by few in the crowd if any. It could simply have been that the two unplayed songs fell out of favour with the band. Or, maybe the band never enjoyed performing them all that much in the first place. On the other hand, they will soon enough have another album to sell and a record label to keep happy with quarterly sales figures and other venomous slander best kept offstage and out of studios. They’re a group in their prime tasked with dragging along a golden chariot of vulturous record executives who can’t keep from spasmodically salivating at the thought of another contract signed in exchange for nothing less than the poet’s soul. But that’s only speculation about one show’s setlist, dug out of the haunting reality of a historically merciless industry. Whatever the real reason may be, the set was performed as it was. Were I to have the opportunity I’d gladly watch the same performance over again, even without those two songs, or any of the others from that album, for that matter. Kaleo’s performance was electric and moving. JJ Julius Son has the sort of voice that is made for the blues. He sings with the sorrow of an old soul, a pain borne from another life not seen through his own eyes.