For those of you who aren’t in the know, Priests are an eclectic Punk-inspired outfit from Washington D.C. and for the past six years have put out some the best rock records in the American underground canon. As a result, they’ve garnered the attention of the biggest music publications in the country: Pitchfork, Rolling Stone, NPR and the usual crowd of pop culture aficionados. The group’s musical output has covered a wide range of different sounds, blending in elements of hardcore punk, noise, rockabilly, and even country. Lyrically, they’re whip smart, a lot of the subject material espousing an observational and often times comical tone. Although they don’t consider themselves a political band, they have a clear ethical philosophy they subscribe to. It’s safe to say Priests don’t care for capitalism. Or gender norms. Also, to date they are one of the most exciting live bands to watch. I would know as I was fortunate enough watch them from the entrance of the bar that I’m not old enough to enter. Their sets are a chemistry of urgency, tight instrumentation and vibrant costumes.

 So, in case it hasn’t already set in, these cats are really, really, cool and they’re preparing to drop an album this month, The Seduction of Kansas. Sonically, it promises to tread new territory. The singles thus far are radically different from the sharp guitar tracks of their former catalogue. They’re taut, refined, more pop oriented even.

“Obviously, we’ve grown as musicians” says Katie Alice Greer, the band’s vocalist. “Some of the oldest songs on Nothing Feels Natural were written six years ago at this point. Whereas the songs on The Seduction of Kansas, were maybe written a few weeks or a month before we went into the studio.”

About five minutes into the conversation, I’m forced to yell into the phone because the connection in the van is less than substantial (did I mention earlier that I lost my voice?). They spoke at length about how the process of writing and recording Kansas essentially became a coming-of-age chapter, accompanied by the usual laundry list of uncomfortable tropes such as relocating, separation, and of course, the anxiety of making new friends.

For instance, around the time they decided to regroup and write new material, their bassist, the dashing Tyler Mulitz, decided to take some time off to focus on another project, Flasher, an equally as exciting post-punk trio. The band also made the executive decision to migrate to Texas for the summer, and bring a new producer along, John Congleton. Congleton himself has quite the extended resume, having worked with everyone from Andrew Goddamned Jackson Jihad to Lana f*cking Del Rey. Yeah, I’d say that’s a lot of change. But don’t take my word for it.

“It was kind of scary. I mean, to move down to this place where we didn’t know anybody, in a studio where were totally unfamiliar and in a really different configuration of this band. Everything about this record was SO different for us.”

In spite of all these drastic changes, Priests acquired new coping skills, acclimated to their new climate, and beneath the evident pressure did not succumb to it, but instead emerged a new band. One with experience and refined observations about the world and themselves as individuals. This new state of being was achieved by as the members themselves stated “trying new things.” 

One of the “new things” the band is trying is to disassociate from the gratuitous number of labels constantly hurled their way. They’ve found the overuse of the term “DIY”, which stands for “Do It Yourself”, in conjunction with their own efforts to be the most egregious. In Priests eye’s, it’s evolved into something of a super-word. It’s primary function not to champion the spirit of artists who self-govern and sustain on their own terms, but more of a catchall phrase that suggests redundancy and way for corporations to commodify those philosophies and market them to the gullible youths. By the way, Priests never referred to anyone as gullible, that was all me, man.

They’re also trying to escape the perils of comparisons and band modifiers, like “Riot Grrrl” (the three ‘R’s are intentional). They’ve gone as far as writing up a document for press inquiries that feature basic facts about the band and a special request that they not be referred to as a Riot Grrrl act. “If you don’t take that agency over your narrative, obviously others tell your story for you in the way they think it ought to be told. That doesn’t need to happen. You can tell your own story.”

On the subject of comparisons, lead guitarist G.L. Jaguar certainly feels the band could make do without them. Especially the more outlandish claims. “I feel like a lot of people compare my guitar playing to Black Francis of The Pixies. But like, we sound nothing like The Pixies. The only thing we have in common is that we’re both short, fat, and bald. That’s just a really lazy analysis.”

“It’s like what I texted you earlier,” chimes in Greer, “at this point if you want to call us something, just call us a rock band.”

We also briefly discussed the bands wonderful vocabulary of cinema. Mr. Jaguar himself being quite the film buff. One film that they’ve unanimously agreed was made in poor taste was 2006’s Charlie Wilson’s War.  It’s the subject of the album’s second single “Good Time Charlie”, the lyrical portion dealing with the way in which Hollywood films glamorize and mythologize shifty figures like former congressman Charlie Wilson. Thematically, this album promises to dissect the culture of mythology that is so embedded in our DNA that we don’t even recognize how we’ve built a national identity on what essentially is the illusion of fables, so entrenched in the narrative of our own victory that we can’t recognize its deluding properties.

Critical examinations aside, Priests hope the new album will provide enough of a presence that it might galvanize you, the loyal listeners, into possibly making something as vital on your terms.  

“It would make me very happy if someone listens to it and wants to pick up an instrument. If they feel compelled to do so, or do something else. Like if they’re thinking ‘HOLY CRAP! I can do that!’ that would be satisfying.”

The post Priests: If Anything, Call Them a Rock Band- An Interview appeared first on SCAD Radio.

Darkest Hour: From the ranks of the nation’s capital, Washington DC, this band has proved to many on a global scale, that with enough hard work and dedication you can accomplish anything. Beginning in the mid 90’s, Darkest Hour have toured relentlessly all over the world and have put out nine tight and well-crafted LP’s.  Their current release, Godless Prophets & the Migrant Flora sees them collaborating with California legends, Southern Lord, to construct an album solely driven by fan anticipation and approval. Whatever you do this Saturday please make sure you at least get a glimpse of the spectacle that Darkest Hour will surely provide. Or your Hardcore credentials back!

Genre: Melodic Hardcore, Punk rock, Thrash Metal

Bury Your Dead: Bury Your Dead is an American hardcore band from Boston, Massachusetts formed in 2001. To date there are eight releases; one EP: Bury Your Dead, one live DVD: Alive, and six studio albums: You Had Me at Hello, Cover Your Tracks, Beauty and the Breakdown, Bury Your Dead, It’s Nothing Personal and Mosh N’ Roll, all released independently.

Genre: Hardcore, Metal

Check out our interview here.

Evergreen Terrace: Known for their intense live performances, these guys should certainly be on your list bands to see on Saturday.  Evergreen Terrace has been blazing their own path through the melodic hardcore scene for over a decade, playing along-side some of the biggest names in thrash and punk, including Suicidal Tendencies, August Burns Red, Asking Alexandra, Every Time I Die and New Found Glory. ET are certainly no laughing matter. Their full -length album, Dead Horses, is out across all platforms via Rise Records.

Genre: Melodic Haradcore, Punk rock, Metalcore

Through The Eyes of The Dead: Revered as one of the groups that pioneered the aggressive and abrasive mixture of death metal and hardcore that permeates the modern heavy music landscape, the East Coast-based THROUGH THE EYES OF THE DEAD triumphantly return with Disomus (available on Goodfight Records). As a live act, the band never fails to bring their A-game consistently.

Genre: Heavy metal

I Set My Friends On Fire: Fusing together older influences of emo/post hardcore with a little bit of funk thrown in, I Set My Friends On Fire aims to set themselves apart from other bands with their unique sound that the band describes as “evil funk”. The band are currently signed to Tragic Hero Records, have played Vans Warped Tour on various occasions and plan to release their third album, My Uzi Holds A Hundred Round Conscience later this year.

Genre: Electronic, Metalcore, Post hardcore

Separations:  This Atlanta quintet their initial mark with a well-received debut album on Imagen Records, ‘Dream Enter’ in 2015, produced by James Paul Wisner, who is credited for making sleek sounds of bands such Underoath, Hands Like Houses and Dashboard Confessional.  The band currently have their second full length out on Imagen, Bloom, and spent the summer playing a slot on the legendary Vans Warped Tour.

Genre: Rock, hardcore

The Funeral Portrait: These Atlanta natives make sure they bring the thrash with them wherever they go. Originating in 2014, the band have since seen success opening up for some of the biggest bands in the scene including Alesana, Famous Last Words, Capture the Crown, Escape the Fate and Slaves.  The band is currently on the fast track to world domination thanks to the release of their debut EP For The Dearly Departed now available on Revival Records.

Genre:  Hard rock, emo, post hardcore

Check out our interview here.

No Zodiac: Hailing from Chicago, Illinois, this group plays a sweeping array of what they describe as Brutal death metal. With 2017’s gut-wrenching EP, Altars of Impurity, No Zodiac have their Ray Guns set to kill and are hoping to terrorize your children at a venue nearest you!

Genre:  Blood, guts and everything ugly

Vatican: Savannah natives, these boys got their start in early 2015. Since then, they’ve been consistently playing gigs, be they supporting shows in the Southeast US region they call home or on the road around the country. Their latest EP, Ache Of Eternity, finds the group at their best, melding corrosive vocals with unhinged aggression, groove, and bloodthirsty beat down.

Genre: Hardcore

Check out our interview here.

Second Death: Who better to describe the group then themselves — “Formerly known as Beware the Neverending, Second Death combine skull-smashing heaviness and groove with contagiously catchy melodies and outstanding instrumental harmonies to create a unique and intense breed of heavy music that is bound to ensnare the ears of mosh-hungry metal heads world-wide.”  Nough said. Be sure to sure to show these boys some love if you get the chance.

Genre: Heavy Metal, Groove

Check out our interview here.

Icaria: Icaria is an Atlanta based progressive metal band that formed in 2015. The last year saw the release of their debut album, Transcendent, on Cardigan Records.  They’ve set the sights on a nation-wide tour and are said to be working on new material.

Genre: Progressive Rock, Metal

Great American Ghost: Are a four-piece band from Boston. They have put out two amazing albums on Good Fight Music, Everyone Leaves and 2017’s Hatred Stems From the Seed. They are credited with bringing back a certain spark to the modern Hardcore scene.

Genre: Hardcore, Metal

Awaken I Am: After dissolving from the famed band Sleepers, the five members of Awaken I am decided to make music with a focus on pop melodies with heavier instrumentation. Originating from Brisbane, Australia, the band are currently signed to the legendary Victory Records. To date they have released one album on Victory, Shields & Crowns available across all platforms.

Genre: Progressive Pop-Rock

Check out our interview here.

Strengthen What Remains: Active since 2010, this Florida group plays an awesome blend of metal and hardcore punk. In early 2011 they were signed to Blood and Ink Records and have since put out two outstanding full length albums, Humanity and Turning a Blind Eye, as well as an EP entitled Justice Creeps Slow.

Genre:  Metalcore, Hardcore punk

My Last Years: These guys are a five-piece melodic Metalcore band from Savannah, GA. The members all come from a wide variety of musical backgrounds. They intent with bringing some fresh elements to the scene. Look out for these guys.

Genre: Metalcore

Check out our interview here.

For more on AURA Fest, keep it locked to SCADRadio.org

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The group has also undergone various lineup changes over the years, an essential part to their writing process. So why should anyone expect differently for their end of year release: Memory Of a Cut Off Head.  Cut off sees several changes and return forms in meaningful ways, firstly with the return of longtime Thee Oh Sees collaborator and former keyboardist Brigid Dawson. Secondly the band decided to use the moniker OCS, which many fans would know was the original name for the band, until 2005. The big change comes in the form of something slightly unexpected in that technically this isn’t a record by Thee Oh Sees, it’s by the OCS. Confused? Don’t worry I was too. Basically, Dawson and Dwyer got together and decided to write songs under OCS umbrella but not tour as heavily as Oh Sees. For those looking for healthy dose of pounding drums and fuzz drenched guitars, then I’m sorry to say that this isn’t the record for you. Cut Off Head, instead brings us back to much simpler time in the band’s discography, when they were the proponents of genre dubbed “Freak folk” (take from that what you will).

On this album, we’re in a field of frolicking acoustic guitars and tripped out synthesizers, which is especially apparent on opening/ title track “Memory Of A Cut Off Head”. The production on track is refreshing, allowing every instrument to breathe and intermingle, in healthy and very relaxing manner.  I was pleasantly surprised by the subtle accompaniment of a string section in this song.  As the track list progresses however, OCS begins to experiment with various sounds and it comes off as though the duo disregarded a cohesive sound, making Cut Off Head appear to be more like a compilation album more than solid LP.  This change is notable on cuts such as “The Baron Sleeps and Dreams”, a song that starts off with a melancholy string section that quickly shifts into a three-minute exploration keyboard landscapes and unfortunately this section seems to meander.  The case can be argued for the track “The Chopping Block”, although a very well written, heartfelt elegy to David Bowie’s “Space Oddity”, the song ultimately feels out of place in the context of this album.  But there are exceptional golden moments on this record, such as the track “The Fool”, spearheaded by Dawson’s soulful vocals and a somber keyboard and violin. It stands as possibly one of the best breakup songs I’ve heard in a while.  However erratic the record may feel, there seems to be underlining theme, at least sonically. On Cut Off Head, OCS channel the energies of their past and present and attempting to lay out their future.  Dealing with the expected slices of psychedelia from all across the board.

Overall  Memory Of A Cut Off Head, although it feeling inconsistent throughout its 40 minute run, should be quite a pleasant listening experience for new comers and those who are already familiar with the bands discography.

The post OCS- A Memory Of A Cut Off Head Review appeared first on SCAD Radio.

After initially grouping in late 1999, the band would spend the next few years writing and recording a myriad of “trashy, punk and grimy” songs in their loft. Soon they were picked up in the New York circuit and began touring alongside the likes of The Strokes and The White Stripes in early 2001. They had some beers, got some buzz and released a self-tilted EP, which I highly recommend you check out. However, things really started to kick off in 2003, that year I mentioned earlier, with the release of debut album Fever to Tell.  The album blew everyone who heard it away, bringing in critical response and billboard positions, most importantly it showed that Yeah Yeah Yeahs were a forced to be reckoned with. As of November 9, this baby has had some major upgrades, being remastered and reissued officially on vinyl.

The original LP still stands the test of time, being as loud as ever. It kicks off the explosive and seductive opener “Rich”, in which Ms. O proclaims that “I’m rich, like a hot noise!”, featuring chilling synths and accompanied by pounding punk rock drums. The rest of the album takes you on an adrenaline rush of a lifetime with tracks that have noisy but tasteful guitar riffs, Karen O’s seductive but piercing vocal deliveries, and sex positive lyrics about one stands, night life in New York City, and the occasional reference to incest. Standard rock stuff, right? But the amongst the sea of hedonism, the band managed to show a more tender side of themselves, especially on fan favorite “Maps” a song about the demise of Karen’s long-term relationship.

Throughout their career, Yeah Yeah Yeahs has revealed little as to what their initial writing and recording process was like during the conception of Fever. With the release of this limited edition deluxe remastered reissue fans are privy to behind the scenes documentaries, interviews etc. about the band before recording and whilst touring to promote the album. It also features various early demos, B-sides and two unreleased tracks “Shake It” and “Boogers”, all of which I guarantee would please diehard fans or excite curious listeners. Here’s the cherry on top for my fellow music nerds, it also comes with various posters, unreleased lyric sheets, photographs and if you act fast enough a cassette of the original LP.

With various updates and new editions, the album still manages to hit all the right spots it did back in 2003.  It’s blunt, noisy, filthy, fabulous and unapologetically sexy. It will certainly go down as one of the best albums of the century. I personally rate it five Karen’s spitting out water out of five.

 If you’ve got $195.00 to spare you can pre-order the entire box set from the band’s official website. If not the deluxe version is available across all streaming services. 

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She earned her place in the grunge-era with the best of them, including her peers in famed Seattle indie-rock group Nirvana.  Alongside late Nirvana frontman, Kurt Cobain, Pfaff has not received recognition for what proved to be a lifetime of achievements, most notably a skilled bassist and gifted songwriter. For Pfaff, the rock group she is most associated with tends to shine a negative light on her life, ignoring many of her greatest accomplishments.

Kristen Marie Pfaff was born May 26, 1967, in Buffalo, New York.  Her mother remarried when Kristen was a toddler, taking the surname of her new husband Norman Pfaff. Together, the Pfaff’s had a son, Jason, who today still resides in Buffalo working as a musician. The Pfaff children seemed to have an aptitude for music. Kristen was a child prodigy of sorts, showing early skill as a cellist and a classical pianist. Her talent led her to the University of Minnesota where she pursued Women’s Studies with a minor in English Literature. She was also DJ for the college radio station.

At the University of Minnesota Pfaff’ was committed to feminist principles and the fight for equality for women. Pfaff volunteered at her campus providing support to victims of sexual assault, rape, and domestic violence as a counselor and partaking the local rape-crisis line called Restore of the Sexual Violence program (which at times offered superb self-defense classes for women). Her most remarkable feet as an activist was her participation and organization of the 24 Hour No Rape Zone, which was since 1990 was an annual event on campus. Pfaff’s intent was to raise awareness about the growing issue of assault on college campuses around the world.

During this time Kristen would eventually circle back to her love of music and inspired by the spirit of punk rock, she began to teach herself bass guitar. She would later cross paths with local musician Joachim Breuer and the two would forge a songwriting partnership. Not too long after that they enlisted the talent of drummer Matthew Entsminger and with that Pfaff’s first musical project came to light: Janitor Joe.  The following year in 1992, Janitor Joe began touring relentlessly across the country and pressing singles and 7inch releases such as Hmong, Bullethead, and Boyfriend.  The Minnesota trio drew influences from a sea of early hardcore punk bands in such as Bad Brains, Minor Threat, and Youth Brigade.

Within a year Janitor Joe would gain underground recognition in Minneapolis, which inspired countless other musicians in the area to start bands. After gaining momentum in the scene the band decided they would embark on their first country-wide tour, of the band’s early days and touring Janet remarked, “When she and the other two members of Janitor Joe came to me to borrow $1000.00 for a van to start a national tour, I didn’t hesitate because of their excitement, enthusiasm, and talent.” Once the band had reached California however, Kristen’s life would be forever altered. After a performance in Los Angeles, Kristen was approached by members of grunge band Hole and was proposed with the idea of playing bass for them. Pfaff declined and continued to write and tour with Janitor Joe for some time.

But after some heavy consideration from other figures in her life, she had decided to move to Seattle, Washington in 1993. Once there she was recruited as a bassist for Hole and contributed a fair amount to the songwriting process. Those songs would eventually turn into Live Through This, which is to date the group’s most successful and acclaimed work. That year would Kristen receive superb international recognition for touring alongside Hole. However, after major disagreements, tension and negative media coverage, Pfaff eventually left the band in early 1994, with plans to return home. These plans were never realized as she, unfortunately, passed away on June 16, 1994, the official cause of death being ruled as an opioid overdose. Kristen’s legacy is immortalized through her commitment equality, her mother’s efforts to raise awareness about opioid addiction and most importantly her passion for music. Kristen Pfaff was truly an underground hero, with a potential that was yet to be tapped.

The post Kristen Pfaff: The Unsung Icon of 90’s Underground appeared first on SCAD Radio.

Mudbound tells the story of two opposing families in the 1940’s. The first is the Jackson family, impoverished and residing in rural Delta, Mississippi. The heads of the family, Hap Jackson (Rob Morgan) and Florence (Mary J. Blige) have hopes of owning a large property. Meanwhile, the second family, the McAllan’s are middle class family lead by Henry (Jason Clarke) and Laura (Carey Mulligan), much like the Jackson’s, they aspire to having better living conditions.

The film starts off in unconventional manner beginning with the inner monologues of each character, and although the parallels are established in each monologue it does appear to be a slow burn. However, the wait was worthwhile as we begin to see the conflict emerge in the relationship between to the two sons, Jamie McAllan (Gareth Edwards) and Ronsel Jackson (Jason Mitchell).

The onscreen chemistry between Mitchell and Edwards is undeniable, as the characters mirror each other in a number of aspects. Both sons are decorated World War II veterans and golden children of their respective families. Ultimately both young men are haunted by their pasts and the uncertainty of their futures in racially divided delta. In respect to its character’s, Mudbound finds a sincere way to reveal the ways in which they are emotionally confined, mostly through their social and economic backgrounds. At various points throughout the film, Dee Res is able to match these stories and emotions in a poignant manner, with some very consistent and dedicated performances from the cast.

Mudbound does an excellent job of consistently building good tension, with editing and pacing creating a good sense of unrest and leaving no room for the audience to breathe in between scenes. It will at times literally have you at the edge of your seat.

The film especially does a good job about not pulling its punches when it comes to its rawer and brutally honest scenes. Res made sure to address the conflicts of anti-war and racism head on, in a time where political and social issues seem to overlap in a violently manner, Mudbound couldn’t have arrived at a more critical point in our society. A sobering reminder that while the horrors of the film might have occurred almost 76 years ago, the attitudes of characters like Henry, Pappy, or Laura are still prevalent in today’s society and Mudbound does not try to deny that. Instead, it forces us to examine our roles in it either creating these atmospheres or dismantling them and ultimately forces us to have a conversation.

All in all, Mudbound is a very well-crafted character-driven film full of thrills, family dramas, and critical storytelling. Despite the lack of pace in the beginning, most viewers will find it to be a rewarding, didactic and overall entertaining experiences.

4 out of 5 stars

The post Bound To Be Good: Mudbound Film Review appeared first on SCAD Radio.

The first show at The House of Strut was on October 6^th, headlined by relatively newcomer band Solo Collective. They actually played a show the night before at T.J. Tavern that I couldn’t go see, as it was a 21 and older show. Unfortunately, the night got cut short because it rained. On the bright side though, House of Strut bounced back on the following Friday of the 13^th of October for their first annual Psychedelic Night.

Some of the bands that played are as followed:

Solo Collective: consists of Regan Slater on bass, Terrance Boston on drums, Garrett Albury on guitar and singer-songwriter/virtuoso Morgan Lewis.  The band got their start last spring, playing a unique blend of soul, indie rock and contemporary hip-hop, which affectionately coined “Alternative Soul-Hop.”

Ranging in very diverse influences such as Otis Redding, Chicago, Nat King Cole and Kendrick Lamar. Due to some inconsistent weather on Savannah’s part, the bands set ultimately got cut short, as well as having to remove their opening act, but they made most of the time they had and put on a killer show filled with consistent grooves and oozing with sexual charisma.  We all got wet, but hey the gig was a splash! Be sure to hit up the band on Facebook.

The Sound Experiment:  A six-piece group based on Tybee Island, the band comes from years of individual training in music.  Their music has roots in classic American jazz standards but throw in mixes classic rock, funk and fusion. Lead guitarist Alex Bazemore, jokingly described their sound as “Acid Jazz”, stating that “It’s all about intelligence and recognizing your own intelligence so you can choose what to abandon creatively.”

Sound Experiment’s stage presence was quite remarkable, within the first two minutes of their set they managed to get the crowd moving and grooving.  The band had a surprise guest and fellow local musician Max Crisbin who played drums so that drummer/vocalist Timmy Brown could let his voice ring.  Needless to say, Mr. Brown was an excellent front man who channeled bits Michael Buble and at times a rap delivery similar to Matt Schultz of Cage the Elephant.  The standout section of their set however was the challenging energy that horn players Jeremy and Noah Prince brought, akin to the playing of Lou Marini and Steve Madaio members of Stevie Wonders’ original brass section.  Overall, The Sound Experiment were a warm welcome into what was to be a night of great music, check them out on their social media pages.

Partials:  I knew this band were something special when they kicked off their set with a cover of LCD Soundsystem’s “Us V Them”.  I became absolutely entranced by their set, it was filled with standout dance numbers both originals and covers.  They hail all the way from Athens, Georgia. Their current incarnation has existed for a year, with a degree of lineup changes.  Their influences range from Blondie, Talking Heads, New Oder, Radiohead and primarily tip their hats to LCD Soundsystem. Guitarist Jeff Porter explained that they band’s mission was to trace dance music back to its roots in genres such as afrobeat.  Their stage show consisted of mostly synth driven EDM, accompanied by driving bass-lines and the occasional cowbell, because we all know that’s the way Will Ferrell likes it.  Singer Adriana has a hypnotic and angelic quality to her voice, I don’t think of heard anything quite like it before, simultaneously she adds flavor to the rhythm section via cowbells and bongos.  I think it’s fair to say that Partials had a majority of the crowd dancing during their 15-20-minute set as well as a sense of festivity in the crowd.  Partials are releasing an EP on January 26^th. In the meantime, you can monitor their activities on the bands official Facebook page.

Xulu Prophet:  These guys could be considered veterans of the current Savannah music scene. Bassist Oisin Daly explained that the local scene goes through change every four years, due to the nature of Savannah being a college town, “There’s at least an entire summer where we’ve been one of the only live groups.”

Daly, the band’s lead singer, and drummer Rhett Coleman were all accomplished musicians in their own respect but they officially came together in early 2013. Ever since then they’ve been working hard and touring around country playing some very intense but insightful shows.  Xulu Prophets play diverse range of punk rock, reggae, jazz and 70’s funk influenced, kind of like a trippy Rage Against The Machine.  The bands live set was nothing short of awesome, bringing with them a healthy dose of energy and heavy instrumentation, as well as Xulu himself commenting on the importance of live music saying, “It’s a unique experience where it can change mentalities and break boundaries.”

If Xulu Prophet sounds like a group that excites you, then be sure to give their Facebook page a like.

Kilroy Kobra: Initially starting out as a solo project written and composed by lead singer Thomas Uribe, they’ve now become fully fledged touring band. Probably the only group to explore a more theatrical aspect and that’s no coincidence, as Kilroy Kobra had recently completed shooting a short film called Man of the World, in which the group constructs a visual narrative using a few songs off their latest release. The band’s sound is electrifying, playing of mix of 90’s r&b, with funk and fuzz rock tones. Their also open to more traditional Americana influences like Bruce Springsteen and Bob Dylan. But during my discussions with the group they lamented on the fact of having to put a label on their music, in fact Keyboardist Josh Seckman jokingly described it as being GENRE-lized!  For them it doesn’t warrant the creative freedom that they’ve been working towards for the past year, but Kilroy Kobra seem determined to overcome that struggle in whatever way possible, personally I can’t wait to see what that looks like. These have an awesome EP and film out called Man of The World, so be sure to give it a listen (and a watch). Also don’t be stranger, send the band some love on social media!

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So when punk rock was kicking off in the year 1977, everyone in New York City and their neighbors across the Atlantic couldn’t wait to be in a band. This type of mentality was new to the making of art, as previously it was always believed that in order to begin even dreaming of making some sort of impact in music, one would have to be a God-like virtuoso who had been practicing since the day they were born. When punk rock came along, all of that changed. Suddenly, you began to see kids from different walks of life with no musical backgrounds, or pervious ambitions, who picked up guitars and had no holds barred attitudes about everything. Generally, when people think of the early British punk scene they think the Sex Pistols or The Clash, but there was one band who be really credited as being the true punk rock group, as far the ideals of punk rock go. That band was The Damned.

Comprised of Dave Vanian, Captain Sensible, Brian James and the devilishly handsome Rat Scabies (with a name like that he could only be). These four young men really didn’t care about anything or anyone. They said and did whatever they wanted, to whomever they wanted, whenever they wanted. They had the energy and stage presence to match any rehearsed Deep Purple gig and songs that would shatter any venue they played. They certainly had more of an edge than the Sex Pistols. The Damned were also a collective of really strange young men, like out of this world strange. Their idea of a “fun night” involved breaking and entering and sometimes urinating on people’s beds and yes, all of this 100% fact.  All of this culminated in their first and most critically acclaimed album; “Damned, Damned, Damned”. So without further ado, let’s put aside all the bollocks and talk about the music.  

First off, let me note that I am obviously not the first to talk so extensively about the importance of this album. Having said that, I sure as hell won’t be the last snot-nosed hipster to do so. At forceful twelve tracks the record opens up with the eardrum destroying and fun “Neat Neat Neat!”, which is by far the best opening track to a record in the history of the last 40 years and is guaranteed to have you destroying furniture (or your money back).  As the album progresses, it manages to defy expectations in terms of songwriting and production with poppy tunes like “Fan Club”,a satirical look at people’s obsession with celebrity and a rumored jab at Beatlemania, and the sombre tones of “Feel the Pain” which is basically a spoken word venture. Although the quality of these tracks should not be surprising as the band aspired to actually be competent musicians, an ideal that most of their peers did not waste dreaming of. Through and through the band manages to capture some the raw and untamed energy of their live performances, with Brian James strumming out as bloody brilliant lead guitarist and writing riffs that would inspire generations of music to come. However, one element of the album that at times feels quite under appreciated is the drumming style of Sir Rat Scabies. Let me put it this way, most punk rock drummers enjoyed beating their instruments to pulps, Scabies gave his drum kit really fast love taps in damn near expert timing, somewhat akin to that of late The Who drummer, Keith Moon. I mean both musicians made crazy faces when the played drums, so there’s that. Let’s also take this time to address the sexy King of goth fashion himself; Dave Vanian. Oh my, where do I begin with him? First of all, he’s got this voice that instantly puts me in some sort of Freudian trance. Then there’s the fact that as a front man he was just a complete animal, howling, jumping around like a spastic, destroying equipment and doing just about anything to get reaction out of the crowd. I mean what more could you ask of a lead singer, besides hoping he does not spit blood at you.  In particular, there’s a track on this record, “New Rose”, where all of the band’s talents really come together and not only is it my favorite song by The Damned but it is probably the catchiest tune on the entire record. First off, the song is frantic as heck. Like, full on “can’t sit still to save it’s life”, secondly written under the guise of being a love song which to a certain degree it was. Although the love wasn’t being expressed for any women, instead it was written as a love letter to the excitement surrounding punk in the late 70’s. I guess in modern terms you could classify this song as a “banger” ( I hope I used this term correctly).

All in all, this album is just balls to the wall, fun rock music. This is the way that any rock n’ roll album should be played. If you haven’t heard it yet make sure that you do so before you die, because it’s just that awesome.   

The post 40 Years of The Damned, Don’t You Wish They Were Dead? appeared first on SCAD Radio.

Savages are one those bands that come around maybe once in a lifetime. That statement might be a tad bit overused, but I’m being honest in this context.  How many bands can you name that once they reach a certain level of success manage to keep a sense of earnestness,  sincerity, and ferociousness to them? That’s a rare find, especially in the world of Indie-rock, The Strokes in their heyday may have possessed some these qualities but traded them in for excessive drinking and apathetic onstage attitudes  (I still love you, Julian Casablancas!).  Savages have been in existence since 2011 and from day one been adamant about not having any “bullshit on stage”,  a quote from lead vocalist Jehnny Beth.  Their live shows are not overrun by any distracting or predictable elements, only two things matter;  the energy and the music.  

Recently, I was awarded the fortunate opportunity to converse with the band’s bassist, Ayse Hassan. Ms. Hassan, being probably one of the coolest people I’ll ever speak to in my life is not only a member of Savages, but also has her own side project called Kite Base.  A duo comprised of solely of bass guitars and the occasional drum machine. Is that not the coolest thing you’ve heard?  So when approaching this interview I felt had the responsibility not to go the path of other two-bit journalists and pester her with questions about what it’s like to be a female in a rock band, because let’s face it those questions are pretty f#@*ing stupid (as well as borderline misogynistic).  So I decided to focus on the individual and the artwork and to her genius, Ayse had the interesting idea of interviewing the interviewer,  so whether you like it or not you’re going to be getting my opinions about art too.  Hold your breath for this one.  

Jay: So Ms Hasan, what was your first musical memory?

Ayse: An early memory that’s rather prominent, was the first time I saw Michael Jackson’s music video for ‘Thriller’.   I experienced a mixture of emotions; fear, excitement, horror.   It was such an intense and scary video for me at such a young age, but it had such a profound impact – I hadn’t seen anything else like it.  I had nightmares for many nights after watching it…

Jay: What attracted you most to the bass as an instrument, as opposed to say the drums?

Ayse: As a kid, I used to dance – ballet and tap,  I was also a cadet for a first aid charity called St John Ambulance – where I recall marching around a playground to the sound of a drum beat, so from an early age I was introduced to music in various forms as most of my hobbies involved the support of music or beats.  My first musical instruments were a recorder, guitar than piano.  Playing bass actually came later for me, around the age of 14…..from that moment I understood that the tone of a bass, the role it plays in music, really resonates with me.

Jay: How did you decide on what your sound was going to be? Was it something organic that occurred over time or was it preconceived?

Ayse: For Savages, it was something quite intuitive. In the room with 3 other musicians, each person bringing something different – their own style of playing, meant we found a way to work within the context of how each of us plays.  Our sound came from that.

Jay: Who are some of your literary and musical influences?

Ayse:

• Literary

Oh I have many, there are the obvious ones like Philip K Dick, Terry Pratchett, Jacob and Wilhelm Grimm,  Sylvia Plath, Frank Herbert, Kurt Vonnegut and so on.  But I find it a little boring to talk about these as the road is well trodden.  So I’ll go down a slight, dare I say wonky route; I’m a big fan of Tove Jansson’s work, she is a Finnish novelist, illustrator, painter amongst other things, probably most famous for The Moomins.  I love her art, her fearlessness within her political cartoons, the story of how she wrote her first picture book at the age of 14 called “Sara and Pelle and the Water Sprite’s Octopuses”, The charm of her adult book called ”The Summer Book”.  I’m interested in the author of the books I read, it gives me something I can relate to – I attract to those people who live on the edge of normality, carving their own way in such a structure/conditioned world (or at least in the western world), those who embrace the absurd and take pride allowing imagination and emotion to flourish. I’m currently writing my own novel and I’ve been doing a lot of research, as a result I ended up reading the Philip Pullmans Dark Material trilogy – it’s not normally something I would read but I enjoyed it.  The kid in me loved the fantasy/the adventure – I’m very much a dreamer, I love the power of the imagination, how anything is a possibility.  I  also just finished reading Ted Hughe’s Birthday Letters, a collection of poetry which is a profound body of work said to be a reaction to the suicide of his estranged wife Sylvia Plath.  I found it heartbreaking and an insight into the imprint that grief can leave behind. 

• Other Influences

Growing up, I spent a lot of time with my cousins – we would have sleepovers and I remember my eldest cousin would want to show off her flashy radio/tape player, she would force me to listen to a radio station called magic…so most nights I would fall asleep to the tunes of magic radio – I believe a lot of those tracks got into my subconscious and probably still influence me today (especially the beats element of it)….  The likes of David Bowie, Prince, Micheal Jackson, Madonna, Devo, The Cure, Skinny Puppy, The Beatles all have been a source of inspiration at some point, amongst much more…  I believe that everything you do in your life influences what you do next… that’s why it’s so important to be responsible for yourself and make choices that are right for you – as a result, a lot of my influences tend to come from musical icons but also from people who have shown great courage/humanity and strength throughout their lives…  Tamae Watanabe, at 73 she is the oldest woman to climb Mount Everest, her courage and fearlessness really inspires me.   I enjoy finding inspiration from different sources, such as a town, nature (I’m obsessed with Everest /mountaineering/adventures), an inspiring unknown individual (but is an outstanding human for whatever reason), an unpublished book/comic from a friends, from different genres of music (I always check out recommendations that people give me) – I believe everything contributes to what you create next, it’s all connected in some form or another.

Jay: Do you any favourite memories of all early days with the band?

Ayse: I vividly remember the Savages show at The Shacklewell Arms in London, it’s a small venue and was so packed with people – that we had to squeeze through the crowd to get to the stage.  It was one of those early moments that we just clicked as a band.

Jay: What advice would give to an aspiring musician/lyricist?

Ayse: To keep doing what you love and for as long as it makes you happy – trust your instincts and embrace fear, fear is such a powerful emotion that can stifle creativity, but harnessed in the right way, can open up a great source of inspiration – to use emotions in a positive way. One of the most important things I’ve found, is to constantly try new things; be that music, books, adventures and so on – challenge yourself to read something you might not normally read or visit a gallery in a new place, see a random band, try your hand at doing something unusual (for me that was building a speaker recently) – the freedom to explore new ways of doing things will not only be an exciting adventure but could help inspire the person you become.  A cool Litany against fear from the book Dune – I must not fear. Fear is the mind-killer (etc) – Frank Herbert.  Shared with me years ago from Kendra Frost, who is my partner in crime in Kite Base.  

Here’s some questions for you, you don’t have to answer off course but I thought it would be fun to ask – as I’m so used to people asking me questions.

Ayse: What one piece of general advice would you give someone else?

Jay: This is a bit of a loaded one, as I’m only Eighteen years of age and don’t really see myself in the position to give anyone advice. However, I’ve had a lot of experiences with personal growth this year and I’d say the biggest thing I’ve learnt is that there is absolutely nothing wrong with putting yourself first sometimes. This especially true in regards to mental hygiene, which is already hard enough to manage as a human being, but being a teenager? Totally different ball game. Things are undoubtedly going to be rough in our lives but it’s important to recognize when it might be too much for yourself and you’ll have to take a step back. That’s okay, you’re a human being, breathe.

Ayse: What’s your greatest source of inspiration?

Jay: I would have to say music, even I love literature and I’m an aspiring screenwriter. Everything I do always comes back to music, I bring it conversations with people, I sit in lectures for hours and start tapping/drumming instinctively, I make references to songs whenever I can etc.  I can’t seem to escape it and truthfully I don’t want to. I don’t know who or what I’d be without it.  

Ayse: Is there a memory you hold dear, that you would like to share?

Jay: When I was Fourteen I went to go see the Red Hot Chili Peppers with someone who I consider my brother. At the time I was obsessed with this group, almost bordering a mental fixation but I actually didn’t care about going to see the band, it was the fact that we were together and having a great time, listening to music that we love. He also told that he had checked the band’s setlist on Setlist.com the night before and they probably weren’t going to play our favorite song. They did, which just made an already great night even better.

Ayse: Is there a book, film, record that you would recommend?

Jay:   

1. A film that I absolutely adore, and it’s highly underrated, but I love it regardless would be Sleepers. It’s a 90’s movie with Brad Pitt, Robert Deniro and Kevin Bacon in the leads, it’s about a group of young boys that get sent to juvenile detention centre. Once there they are abused and humiliated by the guards that are supposed to look after them, and once they’ve been released years later they seek revenge.  It’s a really gripping thriller/drama that cunningly grapples with the societal idea of masculinity and it’s also just really entertaining.  
2. God Help The Child by Toni Morrison. I won’t give away the premise because it’s kind of a surprise but it just might be the most thrilling experience I’ve had reading a novel. In fact I highly recommend all of Toni Morrison’s works, she’s one of those writers that challenges your expectations all the time. Very rare voice in literature.
3. As big as I am on Punk-rock, my first love will always be Bossa nova. My favorite Bossa album of all time is without a doubt Joao Gilberto’s  Chega de Saudade, which roughly translates to “kill the nostalgia.” It’s a really great record about breakups and nights on the town in Brazil and it was also the album that helped shaped what Bossa would become today. I listen to it like almost every month!

Savages latest release Adore Life is currently available across all platforms. Below is a link to the night in which  they played at The Shacklewell. Highly recommend you give it a watch.

City’s Full: https://www.youtube.com/watch?v=xUqDckQuqcg

The post Exchanging Thoughts with a Savage appeared first on SCAD Radio.

Sound exciting? We know. Here’s our guide to the 2017 Orlando edition of Self Help Fest.

A Day To Remember: These boys are considered to be Pop-punk heavyweights. Florida natives, the band begun in early 2003. Releasing six studio albums ADTR seem to only be getting better with age and have toured with almost every band across the spectrum of punk and metalcore, including Of Mice and Men, Bring Me The Horizon, Asking Alexandria, Mayday Parade, All Time Low and Blink-182. They’ve earned their place among the legends, and thanks to frontman Jeremy McKinnon will be headlining their annual Self-Help festival, an attempt to give back to their fans and raise awareness about mental illness. Regardless of the outcome, September 30th will surely be a night to remember.

Genre: Pop Punk/Post Hardcore/Metalcore

Recommended Track: “Have Faith In Me”

Underoath

Originally starting out in 1997, Underoath is one of the most influential metalcore bands to have ever hit the scene. Featuring everything from abrasive screams to pristine cleans to hypertechnical instrumentals, it’s no wonder the band has captured the hearts of thousands. After a reunion in 2015, the band has been touring very heavily and even just finished up a tour with Bring Me The Horizon and Beartooth, following their headlining of Self Help Fest 2016 alongside A Day to Remember. Be sure to catch Underoath on September 30th for some of the best metal to have ever been made.

Genre: Metalcore/Post Hardcore

Recommended Track: “In Regards To Myself”

The Story So Far: The band have been active since 2007 and have since earned a reputation as one of the most consistent pop punk bands working today. They have released three studio albums and are currently signed to Pure Noise, alongside State Champs. Put on your flannel shirt and khaki shorts and come mosh with The Story So Far at Self Help Fest!

Genre: Pop Punk

Recommended Track: “Empty Space”

State Champs: Originally from Albany, New York, this young band have one solid full-length LP; Around the World and Back (which the band will re-release a deluxe version later this year). These wunderkinds have had the privilege of being featured on Warped Tour twice as well as opening for A Day To Remember.

Genre: Pop Punk

Recommended Track: “Secrets”

Less Than Jake: You can’t say you’re a fan of pop punk/original 90’s ska without noting the importance of Less Than Jake. They’ve been active since 1992 and have refused to take their foot off the gas pedal since then. Drummer and lyricist Vinnie Fiorello is credited with having co-founded the contemporary label Fueled By Ramen, which propelled acts such as Jimmy Eat World, Fall Out Boy, Paramore, Panic! At The Disco and Twenty One Pilots. 2017 saw the release of the 9th EP Sound the Alarm. The band is also rumored to be releasing new material in early 2018. Catch Less Than Jake at Self Help for a punk rock history lesson and a damn good time!

Genre: Ska-Punk

Recommended Track: “The Science of Selling Yourself Short”

Streetlight Manifesto: Considered Jersey legends, Streetlight Manifesto have indefatigably given their blood, sweat and tears to music since 2002. The past 15 years has seen them put out five consistent releases, the latest of which being 2013’s The Hands That Thieve. If you’re ready to skank, head over to Self Help Fest and get into the pit for Streetlight Manifesto!

Genre: Ska-Punk

Recommended Track: “We Will Fall Together”

Moose Blood: A relatively new band, Moose Blood have achieved success in native town of Canterbury, Kent. The release of their 2016 album Blush put them on the UK’s map of Alternative Artists to Watch in 2017. Moose Blood also spent the last year touring alongside Self Help headliner A Day To Remember. Be sure to see Moose Blood at Self Help Fest for a healthy dose of emo-twinged pop punk.

Genre: Pop Punk/Emo

Recommended Track: “Knuckles”

Real Friends: The band recently put their sophomore effort The Home Inside In My Head on Fearless Records. It earned them a headline slot on the 2016 Vans Warped Tour. Bearing influences like Brand New, The Starting Line, and Blink 182, the band produces abrasive pop punk featuring an unfiltered look at the struggles of daily life in a way that can only be described as “real.”

Genre: Pop Punk

Recommended Track: “Late Nights in my Car”

Dance Gavin Dance: The California group are well known for the blend of Post-Hardcore aggression and rough experimental Funk Rock. Their 2016 album Mothership was received 13th place on the Billboard Top 200. They are currently signed to legendary Punk rock independent label Rise Records.

Genre: Post Hardcore/Progressive Metal

Recommended Track: “Young Robot”

Attila: This rap infused metalcore trio has stood the test of time. Coming from humble beginnings in Atlanta, Georgia, the band formed in 2005 and since then put out six studio albums. Their latest release Chaos earned them a number 2 spot on Billboard’s Top Hard Rock Albums of 2016.

Genre: Metalcore

Recommended Track: “Middle Fingers Up”

Wage War: Florida natives, the band have shared the stage with acts such as Loathe, Varials, August Burns Red, Oceans Ate Alaska and expect to see them reuniting with long time pals/Self Help headliners A Day To Remember. Be sure to catch them onstage if you are ready for a set full of breakdowns, screams, and some great clean choruses.

Genre: Metalcore

Recommended Track: “Don’t Let Me Fade Away”

The Plot In You: The brainchild of Landon Towers, The Plot In You have been touring and recording since 2010. Hailing from Hancock County, Ohio, the band have put out three critically acclaimed records; First Born, Could You Watch Your Children Burn and 2016’s Happiness in Self Destruction. They recently signed on with the legendary Fearless Records and will be releasing new material towards the end of the year. If you’re interested in a metalcore band that seems defy all labels and even transcend genre, be sure to be there when The Plot In You takes the stage.

Genre: Metalcore

Recommended Track: “Feel Nothing”

Bad Omens: A progressive metalcore quintet from Los Angeles, California, Bad Omens have seen great success in the last year with the release of their self-titled debut Bad Omens. Standouts out from the release include ‘The Worst in Me’, ‘Exit Wounds’, and ‘Glass House’. Be sure to catch Bad Omens for some crushing riffs, heavy verses, and soaring choruses.

Genre: Metalcore

Recommended Track: “Exit Wounds”

Self Help Fest 2017 – Orlando

September 30, 2017

Central Florida Fairgrounds – Orlando, FL

Doors: 2:00 P.M.

ALL AGES

Keep it locked to SCADRadio.org for the latest music news.

The post PREVIEW: Self Help Fest 2017 – Orlando appeared first on SCAD Radio.