Machine Head: Darkness Within

Hey there everyone.  So Machine Head was kind enough to drop a new (and awesome) music video to maybe get that energy going on a Tuesday morning.  Check it out and drop some comments on what you think of the new video for "Darkness Within":



Unto the Locust is the seventh full-length studio album by Machine Head, and was released in Australia on September 23rd, in the UK on September 26th and worldwide on September 27th, 2011 (all via Roadrunner Records).

1. I Am Hell (Sonata in C#)
I: Sangre Sani (Blood Saint)
II: I Am Hell
III: Ashes to the Sky
2. Be Still and Know
3. Locust
4. This Is the End
5. Darkness Within
6. Pearls Before the Swine
7. Who We Are

(Deluxe collector's edition bonus tracks)

8. The Sentinel (Judas Priest cover)
9. Witch Hunt (Rush cover)
10. Darkness Within (Acoustic)

(Japanese bonus track)

11. Halo (Live)

(Metal Hammer special fan pack bonus track)

8. Locust (Live)

"By and large, heavy metal fans certainly have longterm memories. And if you're a band that established themselves in a metal way, by veering a bit too much off the metallic highway, your career may never recover. But Machine Head seem to be a band that managed to successfully recover from an ill-advised 'rap metal detour' (1999's The Burning Red), and have subsequently sworn their allegiance back to headbanging fare, as evidenced by such releases as 2011's Unto the Locust. The first thing you'll discover about the group's seventh full-length studio effort overall is that it is comprised of only seven tracks. However, time-wise, it all adds up, as the majority of the tunes stretch past either the six-minute or seven-minute mark. And something else the listener will discover quickly after sampling a few tunes on Unto the Locust is that Robb Flynn and company have hit upon a formula that they follow throughout, save for one song ('Pearls Before the Swine') -- start off mellow, then bludgeon the listener with full-on metal fury. Case in point, 'Be Still and Know' (and its Judas Priest-esque guitar harmony beginning), 'Who We Are' (which starts with children singing), etc. But it all eventually winds up in the same place -- frantic riffing and hollering, especially on the album-opening 'I Am Hell,' as well as 'Locust' and 'This Is the End.' Perhaps on their next album, Machine Head will attempt to incorporate some of these beginning-of-the-song-experiments into other spots of tunes, to create some varying sonic textures (à la Metallica back in the day, with such tunes as 'Orion,' 'One,' etc.). But still, it can't be overlooked that 17 years after the release of their debut album (1994's Burn My Eyes), Machine Head is still a force in modern heavy metal, as exemplified by Unto the Locust." -All Music

Music Releases For July 31st, 2012

Hey there fellow music lovers!  This week for releases, there seemed to be quite the diverse amount of tunes hitting shelves.  Some of these album I have been eagerly waiting to take a listen to (coughtestamentcoughdewscented) and a few others that caught my attention this morning that I will have to go back and listen to.  Anyways, show some love (like every Tuesday), head down to your local record store or online retailer and check out this week's latest and greatest.

"They have toned down the death metal flourishes to almost non-existent, brought back the ballads ('Cold Embrace'), and with Skolnick (guitarist) fully back into the fold by actually co-writing much of the record, it takes a nostalgic step back into past. This is truly a matter of taste. For those that like the heavier, more brutal-side of Testament, they will find much less to salivate over, except for a few songs, such as, 'True American Hate'. For the older fans, that miss the original sound of Testament, the old-school thrash, the 2 minute solos, there is plenty to chew on here.

But regardless of which side of the coin the listener falls on, the song writing feels tired, almost forced, and Chuck Billy's vocal melodies border on monotonous. On a positive note, the production is fierce, crisp, and holds up to the best of what is out there in metal today. Unfortunately, after a few spins, most of the songs are forgettable, and it seems more appealing to dig into their back catalog if in the mood for some Testament." -Sputnik Music

"As the album draws ever nearer to a close, the band presents a cover of Jeff Buckley’s Everybody Here Wants You. Fear not Buckley fans – Christian’s vocals do the song justice while at the same time providing the song with it’s own unique and distinctive feel. Christian’s vocals shine all throughout the song, and his brilliant vocal talents are especially able to be heard during the bridge of the song. The album draws to a close with Before I Start Dreaming. In this closing song, the album is brought to an appropriate close. The song presents some of the greatest and most intimate lyrics of the album, and the vocals are clearly impassioned. The instrumentation of the song complements the lyrics and vocals marvelously, adding further to the intimate feel of the song and it’s overall magnificence.

In conclusion, with its splendid arrangement of vocals, lyrics and instrumentation The Quiet Life is certainly one of the finest releases this year. Stephen Christian does not fail to meet expectations with this release, and will surely leave his audience wishing for more. Upon listening to the album one can easily hear how much the band has improved over the years. One can only wonder how much more the band can and surely will improve over time. The Quiet Life is undoubtedly a must-have album for Anchor & Braille fans, and will be an impressive surprise for music-lovers of all ages." -CCM Forum

"The band do two remakes, one works and one not so much. The winner is a cover of Dr. Hook’s 'Cover of the Rolling Stone,' complete with 'We Will Rock You' style drum beats and, of course, a chainsaw solo. The other, Run DMC’s 'It’s Tricky,' could have been left off the CD. Jesse may have first rapped on the song 'Dirty Little Mind' but going to this extreme was a mistake. It might make one smile at first listen, but one tires of it, quickly. Other tunes, however, make up for this flub. 'Favorite Sin' and 'Horns Up' must be played live as they are true blue rockers.

This one accomplishes what it set out to do, and that is rock loud and hard. Jackyl is back!" -Classic Rock Revisited

"One of the most pleasing features of Sins is the amazing flow throughout the CD from beginning to end -- similar to Sister's Hated. Each song seems to pick up on the energy and aggression of the one before, creating a vortex of unrelentingly pure rock and roll. John Allen uses the Tom Keifer-style vocals quite well, showing improvement from 2009, and the rest of Charm City Devils do a commendable job in performance -- but the key is the song-writing, outstanding in melody, rhythm and lyrics. The production is near flawless in my eyes, using a balance of naked rawness which is clean but not over-polished, similar to that perfected by Crashdiet.

For anyone that ever wanted to know what it would sound like if you crossed Buckcherry with Cinderella, or Sister with Lynyrd Skynyrd, Sins is as close as you're likely to get. If you're anything like me you'll cancel all your plans for the next few hours and put Sins on repeat. To sum it up in three words; aggressive, passionate and satisfying!" -Sleaze Roxx

"These tracks, along with the bass-propelled 'White Noise,' squish together worldly rage, profanity as precise as a cruise missile and sound as big as a controlled demolition. By adding ethereal backing vocals and sudden spasms of ambient Rhodes piano into the calmer breakdowns, the arrangements become edgy, air-tight journeys into reaches that few post-hardcore bands find.

'Illumination' busts up the blasts with a dreamy instrumental, which presages the hard-punching 'The Grateful Prey.' After that pummeling preparation, Symbiosis’ finest track, 'De(V)tails,' appears. It steadies the ship with maximum metalcore, pleases with little prize-in-the-box effects like auto-panning and short-delay reverb with mile-long tails while drawing upon dynamics that never get in the way. The performance from A Bullet For Pretty Boy is ambitious throughout Symbiosis, but that ambition is most rewarded on “De(V)tails.

The intelligent detail in the design of Symbiosis is enthralling from first track to last. Perhaps due to the album’ complexity as well as A Bullet For Pretty Boy’s willingness to take chances, Symbiosis might not be an instant revelation. For many, it will require several spins before it takes hold. Once it does though, Symbiosis may never let go." -About.com

"Musically bombastic with crude riffing and stellar soloing, the first strike is deadly; DEW-SCENTED is alive and well. 'Gleaming With Silver' and 'Reawakening' display guest appearances of Rob Ubrinati (SACRIFICE) and producer / artist Dan Swano (EDGE OF SANITY / ex-BLOODBATH). Without a doubt these two added another dimension to Jansen's passionate and brutish vocals on two amazing tracks of fury. ['The Fall Of Man']'s beats and bruises can be felt deep within, with a strong musical sense, thrashy as always, DEW-SCENTED put another stone on mankind's formulated tomb. Though the winds of change won't be entering DEW-SCENTED's spectrum in the form of music, they proved that their style still matters, it still ticks and kicks ass. Go ahead and run to purchase this one." -Metal Temple

"Some tracks stand out more than others; the bittersweet though catchy as Hell She’s Not the End of the World, the almost college rock bitter break up song I Know You Too Well to Like You Anymore, the standoffishly Summery I Dare You To Break My Heart, the essentially instrumental classic ska and two tone referencing Don’t Stop Skankin’ that sounds like Madness and signs off with a nod to The Specials and then the riff driven PS I Hate You.

As said, there are more than a few intentional or unintentional nods to the past, the faint whiff of familiarity, some songs just don’t hit home and there’s a concern these boys are consciously trying sound like and relive their first two albums. In other genres that could be a real problem, but whether it’s the case or not here doesn’t matter.

This isn’t the deepest meaning of genres, no, what it is though is fun. It’s that party animal you love to invite barbecues, because they just get better when they’re around. That’s what ska-punk is, and for that this album does its job. It’s fun, and what more could you ask for? So quit bitching, pull on your board shorts, grab a beer and get outside. It’s Summer." -What Culture

"Joss Stone's 2003 debut, The Soul Sessions, made her an international star and multimillionaire at the age of 16. Almost a decade on, having spent almost all of her fortune buying herself out of her record contract, and having being victim of an attempted kidnap, she is older and presumably wiser. She's certainly returned to her debut's soul covers format in more mature and superb voice. Stone has always been a tremendous shouter, but has acquired a vulnerability and ability to truly inhabit emotional songs such as Eddie Floyd's I Don't Want to Be With Nobody But You and the Dells' The Love We Had (Stays on My Mind). More surprisingly, Broken Bells' 2010 hit The High Road is given a startling, spirited remodel. Presumably now with the freedom to record whatever she wants, songs from the likes of the Chi-Lites and Womack & Womack suggest an aficionado of soul. After some so-so self-penned albums, Stone could use some original material anything like as good, but this is a powerful, heartfelt and classy comeback." -The Guardian

DVDs:

"Overall this is a package that can’t be faulted. Everything from the video content to the animated menus have been meticulously constructed whilst a welcome addition to the set is the CD which features the bulk of the band’s live show on a twelve-track, sixty-five minute disc. The poster is also cool, and a decent size, and a handy booklet provides the song-writing credits and DVD info. In short, what you have is a package that will have Gojira fans weeping with delight, beautifully presented and available on both DVD and BluRay for those who want the best quality possible.

With ‘The way of all flesh’ Gojira thrust themselves into the limelight. A remarkable album, it is no surprise that it featured in many end of year polls as a top album and what this DVD makes abundantly clear is that Gojira have the live presence, the passion and the commitment to back up that furious statement of intent. As blistering a reminder as you could wish to have should you have been to a live show, and all the encouragement you should ever require to go and see them the next time they hit town, on the strength of this DVD Gojira should be well on their way to becoming one of the biggest bands in the world by now." -Sonic Abuse

"The ensemble performances in this DVD highlight the diversity of Irish music and song, from the sweet nostalgia of Song For The Mira to the upbeat fan favorites Place In The Choir and Ireland s Call and the raucous Irish Party song, Seven Drunken Nights. VOYAGE II features great duet and solo performances also, Keith and Neil face off on guitars in Whiskey In The Jar, while guest artist 13 year old Daniel Furlong joins with Keith to perform a tongue in cheek version of the Disney classic You ve Got A Friend In Me. The audience claps along to lively solo performances such as Emmet Cahill s My Irish Molly-O, and Ryan Kelly s take on the Garth Brook hit Friends In Low Places. George Donaldson delivers a great version of the much-loved ballad Cat s In The Cradle, a tribute to his music idol, Harry Chapin." -Amazon

"The film's most impactful and intense pieces are the stripped moments though, whether it's Jordison drumming in a room inside a circle of candles or the band huddle before they hit stage. One scene rivals any 'Academy' contenders this year. Before Slipknot gathers for that huddle, Taylor asks, 'Where's Paul?'

In his mask and jumpsuit, Gray stands a few feet behind the band on his cell phone talking to his wife. The camera zooms in and Gray goes, 'I love you baby, and I'll call you after the show.'

This resounds louder than any riff because it shows the humanity inherent in Gray and his bandmates. Each one of these guys is part of a family with a bond that's deeper than blood or anything else—hence perfect film closer 'Till We Die'—and even though he's about to decimate a crowd, Gray's maintaining those connections to the world. That's why he's so missed.

No one will ever really know what it's like to be in Slipknot other than the nine that made the band so majestic and legendary, but (sic)nesses gives the rest a damn good idea.

Then there are the extras, including the 'Making of 'Snuff,' which gives a peek behind the scenes of the band's short film for 'Snuff.' Malcolm McDowell puts it best when talking about Slipknot, 'You have to have lived, you have to have suffered, you have to have soul.'

Alex DeLarge knows his shit, but Clown puts it in even simpler terms. 'It's an extreme gift to be able to give the world your pain.' 

That's what Slipknot did every night and on each song, and this DVD is blood-splattered proof.

R.I.P. Paul Gray, this is a fitting tribute from your brothers…" -Artist Direct

HEAVY T.O. 2012: Trivium

I was fortunate enough to hit up the 2011 edition of HEAVY T.O. and even purchased the tickets before the band were announced.  For some reason, I had a feeling it was going to be a good year :-)

Now these guys though I have seen numerous times over the years and seen them progress as a band.  I will admit, some shows have been better than others, especially when they throw some influential covers in their set (aka Metallica's "Master of Puppets", or Sepultura's "Slave New World").  Either way you look at them, they seem to have that niche as a band who will be around for the long haul.  These guys are now the face of many new metal heads and will continue to pump out good albums time and time again.

Now, for these articles, I usually throw around some opinions and constructive criticisms.  I'm going to keep all feelings aside and just report on some need to know facts about these bands to make your experience at the festival a little more enjoyable.  If you know of someone going to the festival, pass the articles along and get them just as stoked as we are!  For today, AFGM brings you TRIVIUM!

***

With their fifth full-length album, In Waves, Trivium make a crucial statement.

It's a statement about writing their own rules about what it means to be a contemporary metal band. It's a statement that encompasses boundary-defying music, moods, movement, and visuals. It's a statement that's emblematic of their evolution. It's a statement that's going to impact anyone open to it.

Trivium is:

Matt Heafy - Guitar, Lead Vocals | Corey Beaulieu - Guitar, Vocals | Paolo Gregoletto - Bass, Vocals | Nick Augusto - Drums

While on the road in 2009, the first rumblings of In Waves began. Trivium vocalist and guitarist Matt Heafy had already started pondering the direction the band would take for their fifth offering. So far, they'd excelled at the standard hallmarks of the genre, and he wanted to do something new.

Each one of their albums—Ascendancy (2005), The Crusade (2006), and Shogun (2008)—garnered unanimous critical and fan acclaim. Ascendancy cemented the band's place in the metal-verse, selling over half-a-million copies worldwide.

Shogun debuted at #23 on the Billboard Top 200 and in the top 100 in 18 other countries. All over the globe, they rose to the ranks of metal elite, sharing the stage with everyone from Iron Maiden and Slipknot and dominating festivals such as Download, Rock Star Energy Drink Mayhem Festival and OZZfest. They'd done everything the way that a metal band is supposed to. However, even with all of this success, Heafy and his cohorts guitarist Corey Beaulieu, bassist Paolo Gregoletto, and drummer Nick Augusto had gotten frustrated with the state of metal and yearned to break out.

'In my opinion, this album really was a response to what we've ever done as a band and everything we're seeing in contemporary music,' declares Heafy. 'We want to take metal a step further. We're not going to tell anyone what In Waves means. We want to put imagination and creativity back in the mind of the listener.'

(Photo courtesy of Brian Lutz @ www.hadlostudio.com)

Trivium let the music do the talking this time around. The title track and first single hinges on a pummeling polyrhythmic guitar groove that breaks into one of the band's most infectious choruses just before a haunting guitar melody sails off into the distance. Rather than simply modifying their sound, they expanded it with elegant sonic textures and crushingly calculated chaos. The technical prowess is tempered by a melodic sensibility often unexplored by bands in this genre.

About the song, Gregoletto explains, 'To me, the 'In Waves' riff is what anger and hopelessness I felt would sound like if emoted musically. It was the first riff I wrote after we got off the road for Shogun, and it's inspirationally somewhere in between the technicality of Meshuggah and the straightforward groove of Sepultura, but it channels a new intensity. After that song, we weren't afraid to push ourselves out of familiar territory anymore.'

'It was the turning point for the music,' Heafy reveals. 'It's got the simplest chorus we've ever had, and it meant something different to each of us. There's minimalist spin.'

However, that simplicity breeds complexity as each song takes on a life of its own. 'Inception of the End' drops from a speedy thrash air raid into an anthemic arena-filling refrain, while vocal harmonies climb alongside schizophrenic screams on 'Watch the World Burn.' 'Of All These Yesterdays' takes flight on a propulsive hum and an off-kilter solo. Everything culminates during 'Leaving This World Behind,' which pairs a classically influenced acoustic guitar with a chilling scream and an orchestral, electronic undercurrent. 'Built to Fall' shatters an off-time riff with a hyper-charged hook that sees Heafy channeling a new charisma.

The entire album moves and shifts like one fluid entity. Heafy adds, 'There was a conscious effort to tie everything together. Since we pulled back on so much of the musical complexity, it was about the song and we were able to connect on a basic level. It wasn't about trying to insert another big word in the lyrics or another solo. We weren't worried about showing how technical or brutal we could sound. It was about making something great. When I simplified the lyrics, they were able to be translated into multiple definitions, expanding the album to a multi-purposed work of art.'

(Photo courtesy of Brian Lutz @ www.hadlostudio.com)

In order to paint this aural pastiche, the band retreated to Paint It Black Studios in Altamonte Springs, FL with production triumvirate Colin Richardson [Machine Head, Bullet for My Valentine], Martyn 'Ginge' Ford and Carl Bown in early 2011. The band had already conceived the vision for the album over two years of writing and volleying visual concepts around, so recording allowed the band to continue to experiment. Surprisingly, Heafy didn't turn to his iPod for inspiration though.

'On this record, my influences weren't music,' he explains. 'My influences were film and directors like David Lynch, Lars Von Trier, Paul Thomas Anderson, and Christopher Nolan. It was also the idea of modern art. I used to not get modern art and museums. I went to The Louvre four years ago and it got me into classical art. Then I started getting into modern art. I like modern art because it completely disregards all of the pre-set rules. Contemporary art can be anything. There is no right or wrong. That encouraged me on In Waves. We made the music we wanted to make.'



In order to keep pushing the envelope, Trivium experimented with a myriad of sounds and textures, employing everything from cardboard tubes, fire extinguishers, napkins, and out-of-tune pianos to make sounds. Working with new drummer Nick Augusto in the studio also helped facilitate the process. Beaulieu exclaims, 'Nick's a fantastic drummer, and he soaked everything up really quickly. We moved at such a fast pace together and we were able to accomplish a lot more in a short amount of time. It was a very creative, fast-moving, and enjoyable experience. Having that positive environment with Nick made it a lot more fun and it made the songs better.'

However, the songs will ultimately continue to get better as their vision comes into clearer focus. Heafy sums it up best. 'If a CD is like the soundtrack to a movie, In Waves is the entire film. It's everything. It's the soundtrack, the visuals, and the packaging. It's a full-on visual experience rather than being the standard format. The whole purpose of art is to inspire creativity and other art. No one made the album we wanted to hear yet so we made it ourselves. It's time to take metal to another place and bring in new people.'

***

'In Waves' was released worldwide on August 9, 2011 (North America) via Roadrunner Records.  According to interviews (as well as album reviews), this seemed to be a turning point for Trivium and how they approached their creative side and the creation of an album.  I think, like most bands, that it was simply a maturity thing and them wanting more out of an album than previously before.  Now mind you, this is all speculation.  But compared to previous albums I have listened to, 'In Waves' is a beast of it's own...

1. Capsizing the Sea (instrumental)
2. In Waves
3. Inception of the End
4. Dusk Dismantled
5. Watch the World Burn
6. Black
7. A Skyline's Severance
8. Built to Fall
9. Caustic Are the Ties That Bind
10. Forsake Not the Dream
11. Chaos Reigns
12. Of All These Yesterdays
13. Leaving This World Behind (instrumental)

"By and large, the heavy metal community can be counted on to listen with open ears and form individual, unbiased opinions, but some prejudices still run deep, and the members of Trivium have been on the receiving end of several of these throughout their career. Cursed by their own precociousness, musical malleability and, most problematic, their earnest ambition and self-confidence, the quartet has quite simply been blacklisted by a considerable swathe of listeners, led by self-appointed officers of the heavy metal poseur police, and helped none by their contract with leading heavy metal label Roadrunner, whose very success can ironically become an albatross around its bands' necks. As a result, Trivium have been dodging verbal barbs and metaphoric flying tomatoes ever since the modern melodic thrash of sophomore album Ascendancy (their first for Roadrunner, coincidentally), landed them on magazine covers and on stages with Metallica, who they proceeded to inadvisably clone on hit-and-miss third opus, The Crusade, before delivering a more brutal and technical sound on fourth album Shogun. But, since the latter still smacked unfairly against the immovable wall of the aforementioned prejudices, the group -- now armed with new drummer Nick Augusto -- obviously saw no other recourse than to revisit the less overwrought style of Ascendancy on its fifth studio album, 2011's In Waves. In doing so, Trivium prove that template to be their honest-to-goodness comfort zone, as song after song whips by, wedding equal doses of neo-thrash aggression and accessibility, represented by frontman Matt Heafy's alternating clean and gruff vocals as well as his and fellow guitarist Corey Beaulieu's jagged staccato riffs and tight-knit harmonies. Yes, results may vary from song to song, depending on the listener's tastes, but not Trivium's commitment to crafting fully realized, self-sufficient tracks under the stewardship of producer Colin Richardson (who stepped in for the less versatile Jason Suecof) and veteran Roadrunner A&R man Monte Conner (the man responsible for signing Sepultura, Cynic, and many more). But, naturally, despite all these merits (and, sure, imperfections, too), Trivium will probably be vilified once again for taking the same sort of creative backward step that the fans typically clamor for from Metallica, Slayer, and other bands on down; it's the essence of the Florida band's "can't win" lot in life, but there's always hope that this will change, in time." -All Music

***

(Photo courtesy of Brian Lutz @ www.hadlostudio.com)

"Casting a critical eye, it’s probably right to say that In Waves continues this trend. Then again, it’s possibly only fair to say that at least here the group have managed to master these styles in a manner to which they are afforded a stamp of some individuality. The album’s better songs – of which a towering Black and the inventive if not precisely brilliantly titled Capsize the Sea are just two – even hark back to the time when their creators sounded fresh and exciting. This may not be quite enough for Trivium to turn back the hands of the clock to the point where the world lay at their fretboards, but the notion that this is a band whose best days lie behind them is one that, at least for now, is resting on ice." -BBC Music

***

(Photo courtesy of Brian Lutz @ www.hadlostudio.com)

"Not that recent efforts have been odious; it’s just that Trivium have yet to craft the landmark opus they’ve always seemed poised to. In Waves won’t blow away anybody either, but it’s a commendable effort from a band that still doesn’t have a member over 27. Opener 'Capsizing the Sea' makes it seem like things are going to be adventurous here: With its spooky, distorted piano plinks and booming snare hits that lock in with palm-muted guitar, the track is one of the most interesting on the entire album, even though it runs only 90 seconds. From there, things become more straightforward but are still varied enough to captivate. 'Watch the World Burn' is an obvious standout, as its brazen hook and staccato riffs rank near the top of the band’s finest moments. The chugging grandeur of the title track features torrential force and a howl-along, neckbreaking refrain, similar to what was all over Ascendancy. The kings of metal Trivium ain’t (yet), but most of the time, things are looking up.

What’s disheartening about In Waves, however, is its lack of a clear identity; the band seem to be targeting too much at once. First off, the metalcore breakdowns, though never vital to the band’s success, sound forced when they show up. Secondly, Heafy splits his time on the mic between singing and screaming but typically lacks the stinging conviction that his lyrics demand. It all poses a glaring question: Exactly who is this album for? Even Trivium seem to be confused." -Consequence of Sound

***

(Photo courtesy of Brian Lutz @ www.hadlostudio.com)

"Trivium have not topped themselves. They have not beaten the intricate and musically complex feats they accomplished on Shogun, nor will they have satisfied every fanatic that became so devoted to the sound of Ascendancy so many years ago. Some may even label this admirable endeavour as a downfall simply because of its difference. Those that do are neither right nor wrong, but perhaps missing the point. Trivium have achieved so much in the way of progression that their brilliant journey has often been mislabelled by the ignorant as ‘selling out’ or ‘softening up’. This couldn’t be any further from the truth, and I’m glad that we can look upon In Waves as an example of why. Both sides, the soft and the heavy, the light and the dark, the commercial and the underground, exist brilliantly together on this record. When it comes to sheer diversity, the most universal of measurements with which the value of a musician can be genuinely weighed, Trivium have struck a winner with In Waves. I can only wish them a lucrative and rich future where this album will be looked on by the band as a personal milestone, a symbol of triumph and overall a sound, beautifully solid record. Because that’s exactly what it is." -Alt Sound

***

(Photo courtesy of Brian Lutz @ www.hadlostudio.com)

For more information on Trivium and their tour schedule, releases and more, then check them out at the following official links:

- www.trivium.org
- www.facebook.com/TriviumOfficial
- www.myspace.com/trivium
- www.youtube.com/trivium
- www.twitter.com/TriviumOfficial
- www.roadrunnerrecords.com/artists/trivium/



*TRIVIUM WILL BE PERFORMING ON SATURDAY (THE 11TH) AT THE JAGERMEISTER EAST STAGE FROM 16:15-17:00*

Godsmack: Come Together

So far, Godsmack have done quite well with their first (and from what it sounds like, possibly EVER) live album.  The cover "Rocky Mountain Way" (aka Joe Walsh) was the first big hit off the album (minus all he great tunes from their first four albums found on disc 1) and now, the boys jump right back into it with a music video compilation of The Beatles' "Come Together".  Check out the video below:



"Live & Inspired" is the first live album to be released by Godsmack.  "L&I" was released on May 15th, 2012 via Universal/Republic Records.  The outing (disc #1) was recorded at the infamous Fox Theatre in Detroit, MI on October 16th, 2010.




CD 1: Live

1. Straight Out of Line
2. Re-Align
3. Awake
4. Moon Baby
5. Changes
6. The Enemy
7. Keep Away
8. Speak
9. Voodoo
10. Batalla de los Tambores
11. Whatever (Features segements of Detroit Rock City and Over the Mountain)
12. Serenity
13. I Stand Alone

CD 2: Inspired

1. Rocky Mountain Way  (Joe Walsh cover)
2. Come Together (The Beatles cover)
3. Time (Pink Floyd cover)
4. Nothing Else Matters (Metallica cover)

HEAVY T.O. 2012: Kataklysm

Well, this seems to be on of Montreal's top bands performing for over 20+ years now!  Man does Canada know how to make some good effin metal!  On a glorious Monday, I thought it would be a good start to the day/week for us to catch up on KATAKYLSM and their return to Toronto!


I was fortunate enough to hit up the 2011 edition of HEAVY T.O. and even purchased the tickets before the band were announced.  For some reason, I had a feeling it was going to be a good year :-)

Now, for these articles, I usually throw around some opinions and constructive criticisms.  I'm going to keep all feelings aside and just report on some need to know facts about these bands to make your experience at the festival a little more enjoyable.  If you know of someone going to the festival, pass the articles along and get them just as stoked as we are!  For today, AFGM brings you KATAKLYSM!

***

The Canadian Hyperblasters KATAKLYSM formed in 1991 and spread their first demo one year later Death Gate Cycle Of Reincarnation already obtained recognition worldwide and ultimately led to a record deal with Nuclear Blast, signed in 1993. Demo plus bonus track 'The Orb Of Uncreation' became KATAKLYSM's first official release in the form of the MCD The Mystical Gate Of Recreation, also in stores 1993.

The extreme high speed Death Metal with its very own character shown on The Mystical Gate Of Recreation laid the foundation stone of a new metal style: The Northern Hyperblast. Thereafter, KATAKLYSM presented their very first full length album Sorcery, a revelation concerning fast and brutal metal. The release of Temple Of Knowledge in 1996 topped Sorcery in terms of destructiveness and wrecking energy - a true archetype that bestowed the band great compliment, euphoric critics and several well-visited tours.

On the following albums Victims Of This Fallen World and The Prophecy KATAKLYSM started to experiment with new possibilities in sound and arrangements, leading the critics to name The Prophecy one of the most devastating releases in extreme music in years.

The big question afterwards: Would a further increase be possible? Yes, indeed! With Epic (The Poetry Of War), Canada's finest created a classic, backed with a melodic edge and propelled by extreme roaring power, making KATAKLYSM's star rising on and on. TV appearances and headliner tours pervaded the band's life forward and took them to more than 19 countries all around the world.

In 2002, the release of Shadows & Dust continued KATAKLYSM's success with nine immense ass-kicking tracks, including the extreme hymn 'Illuminati.' The Canadian magazine BW&BK described the album as "a pure holocaust of events as all the planets appear to have lined up for this scar on humanity" and voted it among the best 25 records of the year!

It wasn't surprising when KATAKLYSM hit several top lists with Serenity In Fire, and now with their latest release In The Arms of Devastation, KATAKLYSM's strongest evidence that the Death Metal freaks from Canada have found the receipt of success: Northern Hyperblast at terminal velocity!

Katakylsm consists of:

Maurizio Iacono - Vocals | Jean-Francois Dagenais - Guitar | Stephane Barbe - Bass | Max Duhamel - Drums

The legendary four piece have made quite a name for themselves, both in North America as well as the rest of the world for their ferocious vocals and hard hitting tracks!  Recently, the band has decided to comprise the last 20 years of the hard work into a compilation CD/DVD set, know as "The Iron Will."  The compilation was released on July 3rd, 2012 and will feature a documentary and bonus CD materials...

(DVD I - IRON WILL Part I: The Early Years 1991-2004)

1. Let’s Start A Band 1991-1993
2. Signing to Nuclear Blast in 1994
3. Mexico in 1995
4. Max Leaves the Band
5. The Temple of Knowledge
6. The Reformation in 1997
7. Leaving NB in 1998
8. The Prophecy Returns to NB in 2000
9. EPIC 2001
10. In Shadows & Dust
11. Max Quits, Again

(DVD II - IRON Will Part II: The Rebirth 2004-2011)

1. Serenity In Fire with Martin in 2004
2. Max Comes Back
3. In The Arms... 2006
4. Prevailing in 2008
5. 2010 Heaven’s Venom
6. Ozzfest
7. Albano’s & Saverio
8. The World Tour
9. Transylvania
10. SPQR Rome
11. Touring with Kids
12. New Orleans
13. 2 Decades of Congrats
14. Credits



(DVD II & CD I - ON FIRE AT SUMMER BREEZE: Live at Summer Breeze Open Air 2011)

1. Determined (Vows Of Vengeance)
2. Taking The World By Storm
3. The Awakener
4. To Reign Again
5. Manipulator Of Souls
6. As I Slither
7. At The Edge Of The World
8. As My World Burns
9. Drum Solo
10. Blood On The Swans
11. Astral Empire
12. Feeling The Neverworld
13. The Orb Of Uncreation
14. In Shadows And Dust
15. Crippled And Broken
16. Push The Venom

(CD II - BEST OF KATAKLYSM)

1. Iron Will
2. Like Angels Weeping (The Dark)
3. Push The Venom
4. In Shadows And Dust
5. Manipulator Of Souls
6. Crippled And Broken
7. Prevail
8. As I Slither
9. The Awakener
10. The Resurrected
11. Let Them Burn
12. At The Edge Of The World
13. Taking The World By Storm
14. Blood In Heaven
15. The Ambassador Of Pain
16. Where The Enemy Sleeps
17. The Road To Devastation
18. Sorcery
19. The Orb Of Uncreation

As for a actual LP, Kataklysm will be most likely playing a few tracks off their latest release, "Heaven's Venom". which was was released on August 13, 2010 (Europe) and August 24, 2010 (America) via Nuclear Blast:

1. A Soulless God
2. Determined (Vows of Vengeance)
3. Faith Made of Shrapnel
4. Push the Venom
5. Hail the Renegade
6. As the Walls Collapse
7. Numb & Intoxicated
8. At the Edge of the World
9. Suicide River
10. Blind Savior

The album reviews for Heaven's Venom came back quite impressive.  As always, the critics seem to note that the band has been pretty consistent with sound, structure and such for most of their albums...

"It must be mentioned, however, that this predictable sound entails the use of Kataklysm’s strong vocalist, Maurizio Iacono. Surprisingly an owner of his own pizzeria, Iacono has a vocal performance that has progressed nicely with age, peaking with 2006’s In The Arms of Devastation, and continuing to the present as a premier example of melody-flavored death metal voiced correctly; with just enough bite to remain grizzly, enough of a deep tone to prevent ear-grating screeches, and the perfect level of harsh-to-understandable ratio to fit nicely in context of the music. His rough, memorable vocal melodies give replay value to ninth cut 'Suicide River', meshing nicely with the lead-heavy river of distortion that Dagenais creates to carry the vocalist on. Earlier on the album, 'Faith Made of Shrapnel', a song that runs a couple of minutes too long for its own good, would surely be a lost cause without Iacono’s varied use of both his high, harsh tone and that of his respectable lower growl, keeping interest in a song that the other three members of the band just weren’t able to implement successfully themselves.

That last point is perhaps the problem that’s holding Kataklysm back in their set sound, though. Iacono is a great frontman, sure, but instrumentally the band’s aesthetic is really starting to get old. Each of the band’s post-2001 albums all contain a number of memorable tracks, but taken as a whole individually, there’s just not enough to tell them apart. And like those before it, Heaven’s Venom is, in a lot of ways, just another Kataklysm album: There’s head-banging riffs and a number of catchy, harsh vocal melodies, but overall it’s just the same mid-grade melody-flavored death metal that the Canadian band have been playing for years. Still not sure which side of the argument you fall on now? Understandable, it’s still a thin, blurred line that Kataklysm stand on after all, but with each new release I can’t help but feel that the odds are continuing to stack against the Canadian four-piece’s favor: Sadly, it would seem that Kataklysm are stuck in a cycle of repeating themselves, essentially lost on a path of stagnation." -Sputnik Music

***

"The always solid Kataklysm return with their tenth studio album Heaven’s Venom. A mature death metal band that always seems to be one step away from top tier status, Kataklysm are always instantly recognizable due to their distinctive sound. Heaven’s Venom is yet another good album from Kataklysm, with a great deal of variation incorporated into well-written songs.

Over their last couple of full-lengths, Kataklysm have subtly altered their style by moving away from the non-stop rolling blasts that were typical of the band’s mid-period releases. Nowadays, besides the requisite blasts, there are lots of moments of groove, traditional riffs, and soloing. In short, the songwriting has jumped forward a few notches as the band is obviously no longer just concerned with tearing your head off.

The difference is subtle, as there are a couple of songs that are all out blasts, or nearly so, such as 'Push the Venom' and 'Faith Made of Shrapnel.' However, even the songs that are mostly concerned with speed incorporate plenty of slower moments with riffing that borders on the traditional style of NWOBHM, such as 'Numb and Intoxicated.' Nice pieces of melody and solos creep in throughout, keeping the songwriting fresh and interesting. The end result of the different elements coming together is a well done, varied album that only a mature band could really pull off.

Heaven’s Venom is another good to great album from Kataklysm, but probably will not change the band’s status in the minds of most." -About.com

***

(Photo courtesy of Audrey Dujardin Photography)

"The quality key on 'Heaven’s Venom' is Kataklysm’s willingness to wrap melodic death metal in pieces that most true death metal fans would spit at. But those things punch up the death metal by giving it a counterpoint and keeping “Heaven’s Venom” from being another monotone thrash-n-bash death metal album. Kataklysm ends up borrowing fairly heavily from Dimebag Darrel and Pantera, as that style of southern boogie metal pops up all over the album. But aside from that southern-fried thrash style, they take pieces from plenty of other places as well. 'Determined (Vows Of Vengeance)' has a killer syncopated snare drum that is reminiscent of Opeth or even Rush, while 'Numb and Intoxicated' pairs speedy blast beats with pinched harmonics and much slower grooves and hooks that are snipped from the bridge riffs on lengthy Iron Maiden cuts. 'At The Edge of The World' in any other context would be a ‘core song - the blast beats breathe under a constantly-fishing guitar line and hooked-up leads, and there is even a tempo change at the end that may as well be a breakdown in disguise.

Kataklysm manages to play all of these potential pitfalls against each other to create diversity and tension, not banality. How many bands have ripped off Pantera or thrown in ‘core elements and epically failed? Clearly the answer is many, and I have not hesitated to point out those failings in the past. But Kataklysm’s experience with arrangements and songwriting and whatnot makes this album a winner. Instead of dragging the excellently performed melodic death metal down with their adventures into other-land, the melodies and death are made more vibrant, fresh, and alive." -Metal Underground



For more information on one of Canada's best kept metal secrets, check them out at any of their following official links:

- www.facebook.com/kataklysm
- www.wikipedia.org/wiki/Kataklysm
- www.twitter.com/kataklysmband
- www.youtube.com/user/kataklysmrocks
- www.myspace.com/kataklysm
- www.spreadthevenom.com

*KATAKLYSM WILL BE PERFORMING ON SUNDAY (THE 12TH) AT THE JAGERMEISTER EAST STAGE FROM 16:30-17:00*

Random Music Quotes: Morrison

"You can't stay the same. If you're a musician and a singer, you have to change, that's the way it works." -Van Morrison

Beaches Int'l Jazz Festival 2012

Alright all you smooth folk, time to break away from the distortion and rock this weekend and get into some good ol jazz & blues!  You probably seen me chatting about this last year, and with good reason.  Being that I lived in the area for a couple summers, I always look forward to the time of the year when Queen Street closes down and a plethora of bands take over the streets!

The Beaches International Jazz Festival has already started as of last week, but this weekend is when the fun begins on street level.  Last week, fan got a chance to kick up their feet, grab some BBQ and check out some amazing artists down at Woodbine Park:

 This weekend is a chance for folks to grab a streetcar/subway, hop down to Woodbine and just cruise down Queen Street for 40+ artists set up shop on the sidewalk and play to crowds anywhere from 20-100+ at any given time throughout the day* (mind you, most sidewalk artists won't be playing until 7pm each night, but various stages have been set up for artists throughout the afternoons).  Below, you can check out the stage performers, as well as the list of performers that will be setting up shop on the street:

"…of big music, big crowds and big smiles!  We start each year with a blank slate, a wish list, and this season, with over two hundred and fifty applications submitted, we never have enough performance spots to address the many fine musicians looking to sound off.  As we review each application, we keep in mind that the BIJF is an outdoor event where bands must reach beyond the stage and connect with our diverse audience, their expectations and desires.  This is why we mix it up.  A lot of jazz, a bit of blues, funk, Caribbean, and other sounds that all meld and intertwine, leaving the listener with a sense that they’ve experienced a unique blend of sounds that defines this Festival.

Last summer at the Woodbine Park concert venue, Trombone Shorty gave us a hint of how superb this locale can be.  10,000 people stood dancing and moving to the infectious rhythms of Shorty’s New Orleans.  The lit up bandstand under a penetrating urban night sky was breathtaking!  This summer, we’re hitting opening night with some funk, old school and big salsa happenings.  The Mighty Pope with special guests Fergus Hambleton and Elisa Gold get the opening slot at 6PM followed by Toronto legend Carol Pope and Rough Trade and then at 9PM it’s our Latin dance party featuring the big band of Luis Mario Ochoa & Cimarrón.  Saturday, violinist Anne Lindsay gets the day rolling with her virtuoso band from Montreal, an excellent Cuban/jazz ensemble led by pianist Yoel Diaz; followed by blues favourites Diana Braithwaite and Chris Whiteley; big band blues sounds of Raoul and the Big Time Big Band; the funky Planet Earth; and then another hard core night of New Orleans greasy funk with Big Sam’s Funky Nation.  Sunday it’s Blues Express with Kal David & the Real Deal featuring Laurie Bono and the ever popular Andy Kim.

A word about our Youth and New Generation Stages at Woodbine Park.  They highlight the next generation of jazz musicians.  Over 75 high school age musicians featured on the Youth Stage, including the Festival sponsored Honour Combos.  From jazz to funk to rock, the New Generation stage features the talents of Quincy Bullen, Larra Skye, Heavyweight Brass, Michael Schatte and up-and-comer JP Saxe.

Talk about contrasting styles, our Kew Gardens stage is what we call the 'listening post'.  The bands that inhabit this main stage all come with a story to tell.  This year’s collection covers a large territory beginning with the absolutely brilliant conga player Jorge Torres Papiosco and his Cuban compatriots Ìroko; followed by singer songwriters Marc Jordan and Amy Sky; world beat powerhouse Pavlo; blues legend Duke Robillard and his band.  From way down south we also have the soulful charm of the Lionel Young Band and I’ll be back with Stacey Bulmer, Neil Chapman, Jim Casson and the Rockit 88 Band.  The day will end with a rousing “Punjabi funk” band from New York City - Red Baraat.  Led by dholi Sunny Jain, Red Baraat is the first and only dhol n’ brass band in North America melding infectious North Indian rhythm Bhangra with brass funk, improv and a powerful live sound.

Kew Gardens is part of our 'Jazz Triangle' that also includes our Latin and Big Band stages located south of Kew, July 22 to 24.  The Latin Square stage bridges jazz with Caribbean salsa, meringue, cumbia.  It’s a non-stop dance party featuring the likes of Dominican band, El Swing de Azuris, led by Bladimir Azuris de Jesus, and others. The Big Band Stage celebrates the Golden Era of Big Bands by featuring a range of big band sounds, from the classics inspired Swing Shift Big Band to the Jazz Mechanics Big Band with their modern sounding arrangements, to the Big Smoke Big Band with their uniquely aggressive mix of contemporary jazz, funk, rhythm & blues and rock.

Then there’s our three nights of 50 plus bands giving their all as part of our signature Queen Street East event, 'StreetFest'.

Check out our free workshops too.  We offer Comedy Improv, thanks to Second City; a Vocal bootcamp with the lovely Heather Bambrick; salsa, meringue and swing dance classes; a Ukelele workshop (back by popular demand) and more.

What’s a Festival without some great photography immortalizing those magical jazz moments!  We continue our tribute to jazz photography with our Jazz in Motion Juried Photography Exhibition.

For all of our visitors, tourists and locals alike in need of some extra TLC, we offer customized Jazz Experience Tour Packages.  Otherwise just come and experience the Beach neighbourhood’s hospitality, great food and merchandize offerings." -Bill King (Artistic Director)

So all in all, if you're in the GTA and looking for something to do, then grab a friend, grab a spot on a patio, chill out and enjoy the sights and sounds of over 50,000+ people chillin out to the good vibes.  If you don't believe me...

From all the crowds, sights and sounds, it seemed that the 2012 edition of the festival went off unhinged!  The beaches were busy, the food trucks were rollin out the orders, the cold drinks were a plenty at the patio bars and the tunes... well, of course the tunes were awesome!  We found some video footage of some performers from this year:

That Emotional Connection: An Interview With Daniel Tompkins

Alright folks, hold onto your socks today.  I have been looking forward to this interview for quite some time now.  I started my journey into the prog scene few years ago when a friend of mine introduced me to some notable up and coming artists such as Chimp Spanner, TesseracT and Periphery.  Without hesitation, I dove head first into the genre and really started to feel the musical connection that some of these bands were trying to express.

One of the bands that really took me by storm was TesseracT and their front man (at the time), Daniel Tompkins.  I was fortunate enough to catch them on tour with Devin Townsend during his cross Canada tour.  Side note, I almost shit myself when I heard that someone such as TesseracT would be playing my home town of Chatham, ON (a town of 42,0000) with Protest The Hero,  I would have never thought this music would hit rural Ontario.

Anyways, as much as I am a fan of the group still and the musicians that entail it, I was most captured by Daniel with his unreal vocal capabilities and the energy that followed.  Daniel moved on from TesseracT shortly after seeing them live and has since moved onto to some great projects such as Piano, Absent Hearts and his new sensation SKYHARBOR.

I was fortunate enough to get a chance to do some one on one questions with Daniel in hopes to get some info about his background, roots and future endeavours.  So without further delay, AFGM brings you DANIEL TOMPKINS.

(Daniel touring my lovely home of Ontario, Canada)

Daniel, much thanks for taking the time to do these questions.  What are you up to today?

Hey just sat in bed with a cup of tea and some 'hobnob' buiscuits...that's where you'll find me every Sat morning.

What vocal training and techniques have you received over the years?

I've been singing since the the age of 16 but only started to have lessons at 21 when I decided to take things seriously. I had classical training for a period of time but developed my voice in my own time, whilst consulting various professionals over the years. 13 years on I'm finally in place where I feel on top of the game.

What roots of music did you grow up on that made you want to start singing?

Yeah, it's important to respect your roots right? I grew up from a very young age listening to AC/DC, The Sex Pistols and Stiff Little Fingers as my Dad loved his Punk and Rock. But through my teens I started to get into System of A Down, Linkin Park, RATM, Marilyn Manson, Korn, all of that stuff. I then took a turn towards Tool, A Perfect Circle, Glassjaw, Dredg, Hopesfall plus many many others. My first ever live show was watching A Perfect Circle at Nottingham's Rock City when I was 17. I was mesmerized by Maynard the whole show, who I have to say has had the biggest impact on me over the years.

At what age did you realize you wanted to do music as a profession?

When I hit 21 I hit a cross roads in my life. I chose at that point to develop my voice and I haven't stopped since.

(Photo taken by Bobin James Photography)

Any pregame rituals before a show?

These days for me it's important to relax before a show and get into a certain frame of mind. I'll spend 30 - 45 minutes gently warming out particular parts of my voice, with a routine I have tailored to my voice over the years. Then I'll make sure to chill out at least an hour before the show. No alcohol, no smoke, no food.

What's the Daniel secret to maintaining good vocals consistently each night?

The voice is a delicate tool, which needs to be cared for. It's important to understand that singing everyday can cause vocal fatigue so saving your voice is paramount. Warming the voice and the muscles in your face, head, neck and shoulders is something that needs to be done to remove muscular tension, which can effect the voice. It may seem anti-social but post gig I like to spend time on my own as that's an important time to decompress my voice and be silent. If I'm feeling worn, I may even stop talking all together and communicate through writing! That's how important voice maintenance means to me.


Have you ever been at a show/played a show where your music and sound was vastly different from the other bands on the bill?  If so, What was the crowd reaction and how easy did you feel playing on that stage versus stages shared with similar genre bands?

It's been something I've had to deal with hundreds of times, playing on a bill where you sound very different to other bands and the crowd has been unresponsive because they've either never heard of you or they just don't know how to react. For me that's always been my opportunity to grab peoples attention.

(Photo taken by Bobin James Photography)

Where did the inspiration come for lyrics in your projects, whether it be Skyharbor/Piano/Haji's Kitchen/Absent Hearts.  Do they come from personal experiences?  World issues?  Politics?

More or less everything I write is inspired by the subconscious and/or personal experiences in life. My lyrics are a direct response to the music I'm writing for. I often drift away in sleep listening to songs. I find myself waking up through dreams with images/thoughts/ideas which the music has inspired. This is often followed by leaning over the bed and whispering melodies into a voice recorder. But at the end of the day it's all about how the music makes me feel, it has to have that emotional connection.


What kind of mics are you using while recording versus on tour?  Any specific reason why?

I've recorded through some pretty amazing condensers in the past on various records but when it comes to live I enjoy singing through my Neumann KMS 105. I feel that if the stage is big enough then this mic is great for adding that extra spark in quality.

(Photo courtesy of Pitmaster)

Whether in session work or in a band, what words of wisdom can you give to inspiring vocalists?

It's important to understand that as a singer your voice is totally unique so being original as a vocalist isn't difficult. Always be yourself and sing from the heart.

How did you guys come together to form Piano?

I've been with Piano since 2006. I actually auditioned for the band, whilst they were studying in Notts.

I see Zestone Records are from Japan, I take it they promoted you guys quite a bit since you guys toured there twice ('06 &'08)?  Being that you are originally from the UK, how did you end up getting a record deal from a Japanese dominant label?

Hyato Taguchi (Zestone) hit the guys up on the previous EP. The old singer had departed before they were about to tour. So I joined at the right time. The internet is a wonderful thing right.

Hows the process of the LP coming along?  Any updates in the Piano camp?  Have you set a release date?

We'll have a release date soon, we're hoping late 2012.

(Photo courtesy of Hellbound.ca)

You seem to be very busy between projects.  Now I see you are working on th EP for Absent Hearts.  Hows the coming along?  Any updates on this project?

Yeah, the album 'August Earth' is now complete. Mixed and mastered. We're aiming to release late August 2012.

"Absent Hearts was the result of pure chance meeting through the web."  Can you give me some insight into how his project came to be?

I like to find new music/artists on the internet and came across 'The Kay Project' now known as 'Absent Hearts'.


I heard a lovely song called Arctic and asked Scott Kay if he wanted to collaborate. It really is a short and simple story. I came across a very talented song writer, saw a great deal of potential in his music, and wanted to help him out.

Favourite city/venue you played in thus far and why?

Well that would have to be all the Indian shows I've played with TesseracT / Skyharbor. The Indian metal scene is booming, and I've been lucky enough to play to thousands of people on some superb stages with great acts such as, Meshuggah and Lamb Of God.

(Photo taken by Ayansil Photography)

And now for some fun, random questions that every musician likes to answer:

If you could have a single guest member on an upcoming album, who would it be and why?

Maynard James Keenan or Chino Moreno purely because they are such inspiring singers.

If you had one band/musician you would be honored to share the stage with, who would it be?

Tool!

Covers are always fun to do when your jammin out in the studio or spur of the moment live, any songs in particular you like to play and have fun with or is it all original material?

Er...pretty much all original stuff these days but I've sang in wedding / covers bands many many times, which is lots of fun. One song which I have had lots of fun with is 'Play That Funky Music' always a good laugh.

Since this was one I was patiently waiting for, much thanks an appreciation go out to Daniel and taking the time out of his busy schedule (as you now are all aware of).  Be sure to keep up to date on all of his work at the following links:

- www.facebook.com/danieltompkinsvocalist
- www.youtube.com/user/RockWithDan
- www.facebook.com/Skyharbor7
- www.facebook.com/HajisKitchen
- www.soundcloud.com/daniel-tompkins

Keep checking back for more great interviews and chat sessions!