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ALWAYS GRINDING!!
HOME OF THE AXEMEN SERIES

Tuesday, February 18, 2020

THE DEEP BASS INTERVIEW : WEIGHT OF EMPTINESS




1.Why Bass?

Two clear things ... first when I was little and I saw a video of Iron Maiden and I saw Steve Harris (without knowing his instrument) conquered me ... hence the bass became my obsession ... and second the sound of bass represents my personality ... from back to front, the concrete and steel pillar of the strings ... it's like a soccer team ... if the ones at the back give security the strikers do their magic.
  

2.Do you think it is unfair or just lack of knowledge bass gets so little credit?

Not at all, the one who knows about music has it more than clear, we are the conductive line of the songs, I don't care about the people who say "what is the bass ... I don't hear it", hahahahahahaha.

3.What kind of bass do you use?

 Model , color , year , And why
I use a 6-string Ibanez SoundGear line from 2000. I bought it because at that time I was getting songs from John Myung (Dream Theater), and I needed a 6-string bass.

4.Tell us about your amplification

Not only is the bass amplification important, you also have to know how to use compressors and pedalboards with these depending on the style of music you play.
  

5. With all of that being said do you feel tone is an important thing for bass?

Of course, yes, a song is not complete if it does not have those bass tones, additionally the bass has several techniques to play what enriches it more as an instrument.

6.Do you prefer 5 strings over 4 string?

Personally, I like the one with 6 strings, but a good bass played by a good bass player should not matter to him how much the strings matter.

7.Who is your favorite bassist?


I name you three Paul McCartney (The Beatles), Geddy Lee (Rush) and Chris Squire (Yes)

8. Who is your least favorite bassist?

I don't look at the ones I like the least, so I can't answer that.

9.Why do you think women seem to be attracted to playing bass?

Because the bass sound has two characteristics, it is powerful and sensual at the same time.

10. What bassist dead or alive would you like a private lesson with?
Blacky from Voivod ... I love how that bass makes you dream.


11. Bonus question
Bobby Doll , Nikki Sixx , Les Claypool , Billy Sheehan  which is more ridiculous and why

None is ridiculous, they are all good bassists, listen to Sheehan in the Rush tribute, Nikki Six I really like his extravagance too.


THE DEEP END BASS INTERVIEW: Haggardz Hellraizerz

1.Why Bass? 

Short answer. I had the gear. Some twenty years ago the band I was playing guitar was struggling to find a decent bass player, to no avail. So I suggested I could do it, since I had the gear. It’s continued on to this day, since bass players are few and far between. 


2.Do you think it is unfair or just lack of knowledge bass gets so little credit?

 I think it has always been the guitarist and vocalist show to the average Joe. True musicians know that without the bass and drums there is no song. You can’t build towers without a foundation. 
   


3.What kind of bass do you use?

 Model , color , year , And why I actually own 15 different basses these days. My main bass for recording has been my neon green 2017 Dean. On stage I use many different ones from Epiphone, Ibanez, Yamaha, Grestch and of course Dean. 


4.Tell us about your amplification

 Currently I use an Acoustic 300 watt head pushing an Acoustic 4x12 cabinet. 


5. With all of that being said do you feel tone is an important thing for bass? 

Absolutely. It drives my bat shit when some dude brags about how many strings he has on his guitar or bass and then has a tone thinner than a gnat's ass hair. 


6.Do you prefer 5 strings over 4 string?

 I have 1 five string but she just sits in the corner waiting her turn. When I find the right time, she’ll join the show.  


7.Who is your favorite bassist? There are so. 

Lemmy, Jaco, Flea, Geezer, Cliff, Steve, Bootsy. Too many to remember. 


8. Who is your least favorite bassist? 

That dude from Korn. 6 strings and beats the shit outta one. 



9.Why do you think women seem to be attracted to playing bass? 

That would be a question for my wife. 


10. What bassist dead or alive would you like a private lesson with? 
Either Jaco or Cliff Burton. 

11. Bonus question Bobby Doll , Nikki Sixx , Les Claypool , Billy Sheehan  which is more ridiculous and why
 Who the fuck is Bobby Doll?

BATTERY DRUMMER INTERVIEW : Richard Blankenship Haggardz Hellraizerz

1) What is your name and what band do you play for? 

Richard Blankenship
Haggardz Hellraizerz

2) Who made you want to play drums and why? 

Jimmy Chamberlin because of his work on "Mellon Collie and the Infinite Sadness" record. His playing is so dynamic, diverse, and defined. His technical phrasings have always been a keystone to my inspiration.


3) When did you get your first kit? Tell us about it.

I was 17 and the kit was a black no-name starter set that I bought for $500 ( way too much ) at a local music dealer in Oklahoma City in 2017. It was a pretty crappy 5 piece kit but I played on it for about 8 years. It served it's purpose until I was playing live gigs on a regular basis.

4) Were your parents supportive of you and your loud/expensive new habit?

Absolutely not, but I suppose a part of that lack of support awoke the rebel in me to do it anyway and to hit harder than ever during my formative years learning the basics.

5) What drum performance on an album is perfection to you?

Josh Freese on A Perfects Circle''s Thirteenth Step album.

6) Tell us about your current kit and set up in Detail.


I'm currently playing on an RMV 6 piece that I got back in 2004. I use any cymbal brand that sounds crisp and bright. I currently use Zildjian high-hats, Sabian Rock Ride, Paiste Crashes and Wuhan Chinas. I use DW 5000 double kick pedal and play with black Vic Firth 5A American Classics sticks. I prefer Aquarian drum heads because they take a beating and just sound better than any other brand on the RMV's.

7) If you could have a dream kit tell us about it in Detail?

DW Collector's Series Exotic Santos Rosewood Drum Set integrated with some digital pads and brain. Have dreamed of a whole set of 12-15 Paiste cymbals much like what Danny Carey has been using.

8) Name your top 5 drummers excluding Neil Peart and Mike Portnoy.

Jimmy Chamberlin - The Smashing Pumpkins
Josh Freese - A Perfect Circle 
Matt Cameron - Soundgarden
Braun Dailor - Mastadon
Danny Carey - Tool

9) Do you prefer Live or Studio?

I actually thrive in both environments, however, nothing quite hits the spot like a good live show run by a decent sound guy.

10) Do drummers really get all the chicks and if so how do we convince the guitarist?
  

Not from my perspective anyway. Too busy keeping an inventory of my kit to ensure I get home with all my wares to have time for any of that funny business. Besides, I'm not the type of musician that ever entered the field to 'get chicks.'





Sunday, February 16, 2020

Civil Unrest JOIN METAL COFFEE

Civil Unrest was formed in August 2017 and has
since then been rocking the DFW area with a
groove oriented style of metal.  Their first
EP release "The Restless" released in February 2018
and has sold hundreds of copies. They are currently
on track to release a full length album in the Spring of 2020.

Civil Unrest is available on all streaming and music platforms
including Pandora, Amazon Music, Google Play, Itunes and more.

FB: https://www.facebook.com/CivilUnrestTX/
Spotify: https://open.spotify.com/artist/3y2Jm9ObsSfynVUEHCWUhw




Cathedrals Fall NEW ALBUM AND AXEMEN INTERVIEWS!

Cathedrals Fall

Where shall I begin?
 March, 2006.. I moved to Texas after years of being in various bands in the Baltimore area. Sometimes I would play along with material from former bands, or work on some old riffs that never came to fruition. But over time, after being out of a band, I fell into a state of depression. I didn't even pick up a guitar for about 18 months. Frankly, I was afraid that if I did, I might have a violent reaction and destroy the one thing that I was avoiding, my passion. Then, one day, I was listening to some Iced Earth, came home and started playing along with the CD at full volume. A neighbor heard me and later said it sounded very good, and he was impressed by my playing. That spark, at that moment, was exactly what I needed to find the strength to crawl out of the hole I was digging. Eventually, I set up a PC-based recording studio using my old computer and some software. Over time it has been completely revamped and upgraded to today's current setup.
 For years I tried getting former bandmates and fellow friends to do something, anything, even from a distance, just to feed this desire of writing music. Many people, good and well intentioned people, close friends, great musicians all, said they were interested in working with me on this, and some had. But in August of 2018 I decided to do it alone. I needed to do this for my own good and my own vision. This quiet voice in my soul was telling me that I had to move forward after years of writing lyrics, recording drums, guitars and bass. I had already recorded most of a full album, why wait any longer? At that time I began singing vocal tracks, watching Ken Tamplin and other vocal coaches on YouTube. Other than backups, vocals were the one thing I never really tried doing, and it isn't easy. I thought it would be a walk in the park, but there's more than just singing in key. Trust me.
 When it comes to my music, for years I've been told "you should do this" or "you should sound like that", etc. I have incorporated some of those suggestions, but I've never subscribed to the idea of changing my personal style to gain someone else's favor.
Fast-forward to now...
 This is what this is... All music and lyrics on this album were written and recorded by me. This is my vision. This is my baby. If you like it, great! If you don't like it, I'm fine with that too. I really don't want to waste energy trying to please everyone because that's just an impossible waste of time. I do, however, hope you like it and tell everyone about it.
All vocals(but for minor exceptions), guitars, and bass are me playing the instruments and singing. I'm using Jackson Guitars, with FU_Tone Tremolo Upgrades, Schecter, Ovation, Epiphone, GHS Strings, Marshall Amplification, Peavey Amplification, Hartke Amplification, KRK, Furman, Alesis, Rocktron, QSC, MXR, Cakewalk Recording Software, Toontrack Software, Radial, Stedman, Shure, Dunlop Picks, and Monster Cables. The drums were written using EZDrummer by Toontrack, the basic version. Every cymbal, kick, tap, hit, etc., was perfectly timed and precisely chosen by me using the "piano roll view" in a grid. No pre-recorded groove clips, or loops, were utilized. So essentially, without having a session drummer for these tracks, the drums are as organic as I could get without spending 10+ years learning another instrument and another $20k on drums, mics, and cables. This entire production was recorded "direct to board".
 I don't want to bore you with anymore with this background story. So, let's just get to the real reason you're checking this out. Shall we?
The first track, Harmonic Dissidence, is the combined sound of four cathedral bells from around the world.
The seventh track, Saying Goodby To A Close Friend, for me, is a way of saying goodby to a close friend who I did not have the chance to see, or speak with, before they passed unexpectedly. Maybe this song will help others who have found themselves in the same situation.
The eleventh track, Revelation, is indicative of the insane world we find ourselves in today. It's crazy, and getting crazier every passing day.
I want to thank my friend Jason Tipton "The Tiptonizer" for his contribution at the end of Revelation.


 1.Thanks for taking the time to talk to The Grinder! You have a new album out, Tell us about it!
The album is called Harmonic Dissidence. I've been working on this album for some time, about two years. Over time it went from a demo, to an EP, to a full length album. There have been many ups and downs during the process. I was working with a singer from a former band for a long time, but after so long, I decided to just cut ties and go it alone. I had been programming the drum plug ins, recording guitar tracks, bass tracks, etc. I was also writing some of the lyrics. Once I decided to continue alone, I re-wrote any and all lyrical content that I had not done previously. It was a hard enough decision to part ways with him. I didn't feel comfortable using his lyrics for the project afterward. Then I started singing too. Not an easy task for me. But, hey, I went for it and kept going.
 


2.Where was it recorded? Is all the material new?
It was recorded in my humble little home studio. I like to call it “The Sound of Bedlam”. Most of the material is 100% new. There are a few remnants of older songs from the past. "The Graceful Destruction" is a new version of an earlier release under a different band name. "Split" is also a song from the distant past band which was never recorded, but I always loved the feel of it, and it was always a challenge to play. So, I recorded it the way it needed to be done, solid and precise.

3.What is the biggest difference between your last release and the new one?


The previous releases were all under different band names. A little bit of history: I was in a band called Choptank in Baltimore. Mind you, there was another shitty band, in Baltimore, who later used the same name after we parted ways. That band was in no way associated with my band, or any of the members of my band. I think they didn't last very long on the scene. But, back to the story, we did well playing the local scene. We recorded a three song demo called "Dead Of Winter". One of the songs, "Animosity" was a big success for us. At one point we were featured on the garageband.com site, and "Animosity" was the 'song of the day' playing for 24 hours straight. That was cool. I think that after so many years together, we kinda fizzled out. Later, a couple years after the band broke up, and I moved to Texas, I was contact with the singer. He was living in Florida. He claimed to own the rights to the demo. We re-released the demo under the name Caiaphas Forgiven. We also recorded a few more songs at my home studio to add. One of those songs was "The Graceful Destruction", now re-recorded with new lyrics and featured on Harmonic Dissidence. We were trying to have an EP available online. But over time, eventually, things went south and we parted ways.
This album is a new direction, new name, and a new approach to the music that has been bottled up inside of me for a very long time. I know it sounds cliche', but this is much better than the previous music. Before, I was working with 4 other people who all, including me, had our own private issues, relationship problems, etc. Add in some beer and weed, and BAM!... Chaos. But now, it's just me. I drink more coffee than alcohol. I can work at my own pace, on my own schedule, and write anything that appeals to me. And believe me, I really am my own worst critic.

4.Are you signed to a label? , If so which one and how did they help or support the process?
I am NOT signed to any labels. Maybe someone will pick this up and run with it.
(hint... hint...)

5.What has been going on with the band between albums? Did you tour?
Honestly, I've never toured. My previous band played many shows, but never toured. For me to tour, it might be a big challenge to find four or five solid musicians to gel with in a stinky bus. There's a lot of material to nail down too. I'm not counting it out, I'm just being realistic.

6.Do you have any new members?
Just me. I am the newest member! I welcomed myself to the band with open arms. I've worked out great so far, and I don't see any reason for me to leave any time soon. The great thing about being a one-man operation... I only have to rely on myself to succeed or fail.

7.Who produced the new album and how did they effect the album?
Again, me. This is my baby and my vision. I would drive around during my day job and write lyrics, come up with different melodies, etc. and record them into my voice memo app for later use. I'd record a song, burn it to a CD and listen to it for a day or two. Add, subtract, change something...Then after trial and error, I have a solid 50-55 minutes of music.

8.Some like to record naked or in the dark with candles , Did you have any strange studio practices?
My wife works from home. So most of this album was recorded during the wee hours of the night while she slept. I'd make a pot of coffee and run with it. I had to take extra precautions to not wake her up at night. She says that I never woke her up, but she might have been saying that so as not to discourage me from persuing my goal. She is very supportive and knows how much this means to me. I did have the vocal mic facing away from the door, towards a curtain. I would clip the lyric sheets to the curtains as I sang them. Another thing, 99% of the guitar tracks are “direct to board”. So, to get feedback, I would set up a cabinet and just ring out chords and let it feedback and squeal while recording a single track for later use. I'd pick and choose a piece of feedback and make a clip to play along side the rhythm tracks. When I was making the feedback tracks my neighbors probably thought I was an idiot. I was recording feedback tracks for about 2 hours on a weekend, and yes, the windows were open.

9.Of course tell us where to pick up your album and how to learn more about you.
For now, I can be reached through Facebook. Look for Cathedrals Fall. Or search for me, Trevor Goins, by name. My profile pic is me performing live with my trans-red Kelly Star.
I am currently building a wixsite where the songs will be featured, and with a little luck, soon.. some merch too. For now, please, just ask for it at any of the stations who will air it and tell your friends about it. The internet is our friend. The internet is our friend.

10.What is your plans now that the new album is out?


I want to make a few lyric videos to promote it and come up with a YouTube channel.
Hopefully soon I will write another album. I have a bunch of great material to work with. A few songs already written which just need to be recorded and finalized. It's all good. I just need to pace it accordingly and not get burnt out as I tend to do some times. I look forward to sharing this album with you all. Horns Up, you crazy bastards!! \,,X,,/





1.Tell us your name and the band you play for.

My name is Trevor Goins. I am currently the sole member of the band Cathedrals Fall.

2.Who made you want to pick up the guitar?

Eddie Van Halen. When I was young I thought I was going to grow up and be a drummer. With my older sister and brother always watching me I was constantly listening to a plethora of good classic rock.. Stuff like AC/DC, Zeppelin, Boston, UFO, Rush, of course Van Halen, etc. I would always tap my feet and hands with the beat. Then I was watching a show, I might have been 10 or 12 years old. I think it was the show 60 Minutes. They were spotlighting Eddie and, his former wife, Valerie Bertonelli. Eddie was in what looked to be his home studio playing what I think was the clean intro to the song Beautiful Girls. Watching him play it effortlessly and so precisely was incredible to witness. I was completely blown away. It was then that I decided that I wanted to play guitar.

3.Are you self taught or did you take lessons?

I started with lessons. First was in a music store at the mall. My dad would drive me there once a week. Then I was able to take guitar class in high school for a semester. If I had really applied myself then, I could have advanced in the music program at school, but I was 14 and just too unfocussed at the time. Eventually I was, again, interested in playing guitar. I started picking up pointers from friends, my brother-in-law, learning by ear, and eventually some of the old VHS cassette lessons like Doug Marks Metal Method, etc. One friend, in particular, taught me most of the foundation for playing, how to hold the guitar efficiently, picking techniques, chord structures, soloing techniques, etc. Now I just pull up shit on YouTube if I want to learn something new.

4. Can you read music, Can you read tab?

Read music, me?? Hell no! I never could read sheet music. Hey, do you know how to get a metal band to stop playing? Give them sheet music to read! LOL!! Just kidding! But to answer your question, I do occaisionaly read tab. Guitar World Magazine is an awesome source of tab and resources.

5.Do you feel like you have your own sound / tone ?

I try to always get as much meat and potatoes in my tone. One of my early influences, the same guy who taught me the basics, he was a big fan of the “V” tone. High lows, Low mids, High highs, basically the same tone as the late, great, Dimebag. I started with that approach, but later adjusted my highs down and the mids up some to balance it out and add a bit more meat on the bone, so to speak. String gauge has also added some tonal depth. I'm using GHS Boomers “TnT's”, or Thick-N-Thins. They're light top/Heavy bottom strings, a hybrid gauge. .010's to .052's. They allow ease of soloing and the really fat crunch in the rhythms. I've also upgraded with some add-ons from FU_Tone in my tremolos. It's just one more bit of dynamics to the overall sound. And, I'm also playing tuned down a whole step across the fretboard, which adds a bit more natural low end for a darker presence to my sound.

6.Tell us about your guitar ( brand ,model . year , color ).
   

Jacksons! Motherfucking Jackson Guitars!! I know there are many great guitar companies to choose from, but Jacksons have been my brand of choice since I played my first Kelly so many years ago. I like to say that I'm a “Jacksonist” at heart. My go-to is a very sweet, and extremely rare Kelly Star. She's a trans-red model. Originally had the brushed aluminum color hardware. When I re-vamped it with a new neck(w/ pirhana inlays), I also replaced all of the hardware with black hardware, which really makes her look so sinister. I don't know the year, but as I understand it, they were a short run out of Japan, maybe a couple of months??, right before the Fender merge/takeover and were discontinued, and replaced, by the Warrior model. I found it in a pawn shop, hidden in a rack full of Warriors. $150!! I also have a neck-thru King V that's black with ghost flames. She's another stunning work of art. Probably a 2003/2004 model. And I have a standard Kelly in a trans-black that I use as a baritone occaisionally. That one's probably a 2004 model. The bass I used for the album is a Schecter C4. A very well designed bass. It sounds like a fucking piano! I have some other guitars but they're in need of repair and not currently playable, so we'll leave them for another time.

7.What about pickups? Passive or active ? Tell us about them.

All of my guitars have passive pickups. I have absolutely no problem with active pickups at all. I just have never had a guitar with them. But I have considered getting a solderless EMG setup for one of my guitars in need of repair. I have this old Epiphone Spotlight. It's a neck-thru. Extremely heavy on stage back in the day. It was a chore to play live with, but the sheer tone from the body was awesome. I might throw a set of those EMG's up in'er and see how fat she gets. Might be a good marriage of wood and electronics.

8.Lets get into amplification, Same drill brand , model , speakers, etc.
  

I'm running an old-style rack mount system, so I'll go in the order of how it's all linked. At the top of the rack is a Furman PL-Tuner. A power conditioner, light module, and tuner, all nicely packed into a single rack space.
At the start of my rig is the Marshall JMP-1 preamp. I get the tone of a tube preamp and the ease, and diversity, of a digital system. It's midi controlled so I have it side-chained to the Alesis Midiverb 4 effects processor. Both are controlled by a Peavey RMC 2010 midi foot controller. Then all of the signal runs through a Peavey 31 band EQ. After that, we run the signal to a Rocktron 300A compressor/limiter to really refine, and sharpen it, before sending it to a QSC RMX 850 power amp which can be ran as stereo on the full stack, or bridge/mono on a half stack. My speaker cabinets, for live performances, are a nice blend of a vintage and newer 4x12s. Both are Peaveys. The bottom 4x12 is a vintage cabinet with the original Scorpion speakers. Years ago I replaced the dated nylon mesh grill with a nice piece of perforated stainess steel and it really opened up the tonality of the cabinet. It's probably 30 years old, or more, but she still packs a punch. The top cabinet is a much newer angled Sheffield that really makes for a good match in tone. Both cabinets sound distinct from one another. Both sound great, even better when paired.
   
9.Do you have a pedal board? Tell us about that badboy.
Yes, the Peavey RMC 2010 I mentioned earlier. A solid midi foot controller. It could withstand a direct hit from a truck. Imagine an old Ross distortion pedal, but 18” wide and 7” long with a dozen of those huge chrome actuator switches on it. It looks archaic but it has never let me down. You can stomp on it, jump on it, spill beer on it, trip over it, or even use it as an assault weapon.

10..Now tell us your Dream Rig in detail…..
That would be a Marshall Stack, of course. And probably a Fractal Audio processor. Imagine... A wall of unbridled volume with an endless array of tone choices to choose from.
One word... Envy.

11.What guitarist can you not stand?
Man, I'm gonna sound like a total dick, but here goes... Kirk Hammett. I know what people will say, “Oh my God! How dare he?” Look, He is a really great guitarist, no doubt about it. But it seems like every solo, every song, on everything I've heard for decades has that damn whah pedal on it. Give it a break, dude! It's like a crutch, or something. I dare you to write a whole album without the use of a whah pedal for the entire process. There, I said it. I hope it doesn't come back to haunt me some day.

I12. Is tone more important or is technique?

Technique is most important. Tone can always be achieved through various means. But technique must be taught, learned and always improved upon, constantly pushing the envelope of your current abilities. You're never too old to learn a new technique. Whereas you can always buy tone.

13. Name your top 5 guitarist

Really?? That's always a tough question because there are so many to choose from. Do I go with early pioneers, current masters of the fretboard, most influential of all time?? Hmmm...
I'll say who my personal top 5 are and explain why. But in all honesty, there are really no wrong choices on this question. So, here goes... Drum roll please...

In NO particular order, My top 5 guitarists are:

1, Randy Rhoads,
 he set the stage for the fusion of rock, metal and classical guitar. His work still influences guitarists the world over to this day. He was taken way too early from us and we are all privileged to have had him as long as we did.

2, Yngwie Malmsteen, the one who really ushered in the era of neo-classical metal guitar. When he was first on the scene everyone wanted to become a neo-classical shredder. I've even heard George Lynch say that Yngwie is the best ever.

3, Marty Friedman,
 anyone else remember Cacophony with Jason Becker? The first time I ever heard of Marty was with Jason Becker in Cacophony. Speedmetal Symphony was a mainstay in my old cassette player back in the day. Brings back some cool memories. Then he blazed another trail with Megadeth, remember? C'mon! Holy Wars kicks ass!!!

4, Now, you know I'm gonna add Jason Becker

to this list. A true pioneer of guitar wizardry. His songs will live forever in the hearts of every guitarist who appreciates great writing and masterful technique. A truly legendary guitarist.

5, Jeff Motherfuckin' Loomis,

 my personal favorite guitarist of all time. Arguably the most rounded expert metal guitarist of all time. With all of his groundbreaking work throughout the Nevermore realm, his solo work, his work along side Keith Merrow, and now he's with Arch Enemy... Arch Fucking Enemy!!! Who happens to be in my top 5 bands of all time... I mean, God damn!! The dude is a fucking powerhouse guitarist who can shred the most obscure and technical runs all over the fretboard(sweeping, legato, stacato, hybrid picking, hammering) with precision, and immediately shift to something that sounds as soft as a feather falling from the sky, then shred some more like it's nobody's business.


14.Who is the most overrated guitarist

Billy Joe Armstrong of Green Day. I mean, come on, man! He once claimed that he was suffering from writer's block. Really? Dude, it's just rhythm. You're using the same 4 or 5 chords on every song so far. Maybe branch out a bit. Watch a YouTube video, or something.

15.Who would you like a one hour private sit down lesson with anyone dead or alive?

I'm gonna say, without hesitation, Loomis. With an assist from Alex Skolnick. Loomis can show me stuff and Skolnick can explain what it is theoretically. Then after the lesson, I'll leave my phone there recording because you know those two are gonna bounce ideas off of one another. It would be the metal guitarist's dream video. The GOAT!!

On this episode of AN OLD SCHOOL ALBUM REVIEW we're looking at OVERT ENEMY..


On this episode of AN OLD SCHOOL ALBUM REVIEW we're looking at OVERT ENEMY.. a metal band from Texas that started out as a SLAYER TRIBUTE BAND and has now recorded their own original material.

I spoke with the band a little bit before doing the album review, asking them these questions..
Tunings?
Major accomplishments for 2019?
Major goals for 2020?
Bands you have played with?
A funny story about your band?

Here's what they had to say:

Tunings:
We tune a half step down "Slayer Tuning" except Possession which is half step down Drop D.
 



Overt Enemy deliver pure unfiltered Texas Thrash Metal.
Formed in 2013 Overt Enemy is the perfect storm, a hybrid act that can deliver
razor sharp originals and the best Slayer
tribute show in Texas.
Their distinct performances and potent songs has them well on their way to becoming Texas's go to thrash metal
band. The bands relentless work ethic and the release of two critically acclaimed EP's in 2018 & 2019 has seen Overt
Enemy rapidly rise in popularity across the USA and in over 65 countries
worldwide. Once a one off tribute to late Slayer guitarist Jeff Hanneman they
now pack venues
& festivals throughout Texas.
2019 was a huge year for Overt Enemy. In collaboration with
"DIY Co-op" label
Confused Records, the band rapidly sold out of the first pressing of their sophomore
EP, 'Possession'
bolstered by the support of their local rock station
KFRQ 94.5FM,
Castledown FM in the UK, Banger TV in Canada, publications like Metal Hanmer,
Power Play
and Metal Injection
as well as dozens of blogs, zines and internet radio
stations worldwide. The EP's 2nd single 'Blood God' was selected as the title track for the
So Cal Cinema Studios film 'Jaws of Los Angeles'. Simultaneously, Overt
Enemy's cover of Slayer fan favorite 'At Dawn They Sleep' has entered regular
rotation on Sirius
XM Liquid Metal
and was selected as one of the stations 'Top 15 Covers of 2019'! With new original music planned for 2020, tour dates being locked in around Texas and a booming social media
presence, Overt Enemy is on track to conquer the Lone Star State while continuing
to build an engaged global fan
base. They have honed their thrash sound into something fresh, thought provoking and crushingly heavy. The
Texas metal scene has always been thirsty for blood and Overt Enemy plan to give it to them!

Bands: We've played with a ton of bands some of the larger bands are: The Accused AD, Sons of Texas, Shattered Sun, Confused, Panteon and Pantera Tribute Band 333.
  

2020 is a "content creation year" for Overt Enemy. Our drummer just had a daughter so we are laying low with the primary goal for 2020 of  writing and recording a ton of new original music for future release,  making more music videos and playing select gigs in major markets around Texas + large festivals.

2020 is a "content creation year" for Overt Enemy. Our drummer just had a daughter so we are laying low with the primary goal for 2020 of  writing and recording a ton of new original music for future release,  making more music videos and playing select gigs in major markets around Texas + large festivals.

The funniest story I can think of is my first gig when I joined the band. Back then we were just doing the Slayer Tribute thing and we opened with either Raining Blood or Angel of Death..I forget which. Anyway we had this gig back in 2016 at a little bar that did live music in an outdoor patio area...Thirsty Monkey I believe. We get setup and start playing the song intro....right as Leo is about to start singing the power gets cut off by the owner. Apparently someone in the crowd was doing something they shouldn't have. Anyway long story long we got cut off 30 seconds into our first gig with our current lineup. We were way to metal for that place anyway 😉

This episode we have as a special guest..
with "FROM ASH TO STONE" guitar player Jeremiah Pogroszewski.. who is hearing OVERT ENEMY for the first time.. let's start with his review...
 

"You can hear SLAYER but it has its own switch."

"They have the same tuning."

"I'm a big fan of when he's singing, but talking.. he's not really singing, but talking."

"It was so alert when it ended, you're waiting for the next thing to show up."

"You're playing what you did before, just a little change up.. now it's fixing to break down, you can tell they're getting ready to come into something."

"You can feel how they're alternating their riffs."

(concerning "BLOOD GOD")
"Good war song."
"Total death metal right off the bat."
"I love the whammy use."
"The whole solo is excellent."
"They are definitely shredding."

(concerning "AT DAWN THEY SLEEP")

"Almost like.. 'am I listening to the original?'"

"If your job was to exactly imitate SLAYER you guys nailed it."

Thank you Jeremiah for taking the time to do this with us.

As always, Deena is with us, here's what she had to say..

"I see a mosh pit happening."

"They have some moves."

"If I wanted a night filled with chaos, this would be it."
"Badass Badass."

"I feel like I shouldn't sit down here, looking for our next fucking party cuz that's what we used to do."

"Reminds me of those 80's bands that would set up and play anywhere."

Jeremy:

POSSESSION:
Good riffing
Explosive start with vocals.
Love the verse riff.
Yelled lyrics but spoken.
Such a great song.
Awesome solo very thrash metal.
Ending is so punishing.

PRAY FOR DEATH:
Love the riff gallup in opening.
Such a scary ambience.
A shotgun blast.
Sounds like 80's thrash.
Awesome breakdown before solo.
Drums are hammering.
Solid ending.

BLOOD GOD:
Great title.
Loved the intro, straight into the lyrics, which are really good.
They nail the sound they're going for.
I just see a whole bunch of people in their battle vests.
Let the blood flow, watch it spill.
This song is a metal masterpiece.
Good lyrics a subject I'm familiar with I get what they're saying.
Awesome solo.

IN THE END WE DIED:
Super creepy intro.
Builds up well.
You get hit by the hammer going into the verse.
Really good vocals.
What a breakdown.
On point solo, good whammy tricks.
Love the ending, WOW!
My favorite.

AT DAWN THEY SLEEP:
As close to the original as you can get without actually being SLAYER.

Bottom line..
Overt Enemy is not fucking around.
We really enjoy doing this review it was an honor, such an amazing band such great songwriting skills.. we definitely recommend OVERT ENEMY.
 

FOR ALL THINGS OVERT ENEMY PLEASE FOLLOW THEM HERE:

https://www.youtube.com/channel/UCJuEBRKD_g-vqnWttf8NvSg

https://www.facebook.com/overtenemy/











SYLENT STORM announce new drummer and official cassette release

SYLENT STORM announce new drummer and official cassette release

American Heavy Metal band SYLENT STORM announce new drummer and official cassette release
  

Southern Oregon Heavy Metal band SYLENT STORM are finishing up their new full length
 album titled “The Fire Never Dies” which will be licensed for CD to American label Stormspell
 Records this coming spring.

In late February, a remastered five track cassette of the band’s 2018 debut EP will be available as well. Unlike the original self-titled Stormspell Records CD, the 2020 tape version (co-released by Doomsday’s Today/Barf Bag Records) will feature the same five original songs per
 side but all six remastered EP tracks have been made available for download
 at SylentStorm.bandcamp.com.

Unfortunately, a back injury has recently forced drummer Rich Psonak to retire from live shows,
 but the band says his tracks will still appear on “The Fire Never Dies.” Rhythm guitarist Chance
 Lindquist (who left the band earlier this year due to military obligations) can be heard
 on the upcoming album as well. In Psonak’s absence, SYLENT STORM have enlisted the talents
of drummer Ray Kilmon, formerly of LA thrashers KAUSTIK for the foreseeable future.
  
Although more 2020 dates will be made available soon, the following shows have officially been
 announced. Please visit www.SylentStorm.com for further updates.

March 7 @ Point 9 Pub, Canyonville Oregon with Pitch Black Mass, Cosmic Waste and Dead Leslie

March 29 @ The Bamboo Room, Medford Oregon with Insanity’s Reign and Soul Grinder

April 11 @ Johnny Bs, Medford Oregon (Medford Metalfest)

April 23 @ The Haul, Grants Pass Oregon with Tzimani

May 15 @ Empire Music Hall, Yreka California with HellaMetal and Crimson Guardian

May 22 @ Boatnik, Grants Pass Oregon (Headliner TBA)

June 8 @ The Bamboo Room, Medford Oregon with Solicitor and Soul Grinder

September 30 @ 3rd Street Pub, Bend Oregon with Grim Reaper, Skull Fist,
\The Ritual and Insanity’s Reign