Photo by Hordur Sveinsson

Markéta Irglová is known best for her work with the band, The Swell Season with Glen Hansard. The two also starred in the film “Once”, which these also took home the Oscar for Best Song from the film. Markéta released her first solo album “Anar” in 2011. Her latest solo album “Muna” is a continuation of that album. Media Mikes had a chance to chat with Markéta about the album and her music.

Mike Gencarelli: Tell us about where you pulled your inspiration for your latest solo album “Muna”?
Markéta Irglová: I usually draw inspiration for my work based on experience and what is going on in my life in terms of what resonates. I find that I am not able to write about something that I can’t connect with from an emotional place. So it ends up being things that I am drawn to at that time. It could be things that I am reading or stories that I heard. At the time for “Muna”, I was having an introspective journey and asking myself a lot of questions about life in general. In the past, I would have written songs about relationships because that was how I was learning to relate to the world. This album was a lot about widening my relationship with the world and looking for my own sense of spirituality and outlook on life. In that searching, I came across a lot of material that actually helped me in my own life as well.

MG: How did you come up with the title “Muna”? (Icelandic for “remember”)
MI: For me this is part two of a trilogy of records, which “Anar” was the first. When I finished making “Anar”, I knew that it had to be the first of these three records. It would be connected to the others and be a continuation and extension of each other. I wanted there to be a synchronicity between these three records. I wanted each record to also have a title of one word and consisting of four letters. When I was recording “Muna” in Iceland, I was wondering what it would be called and I was looking for a word. I was thinking that remembering is sort of a theme for this record. The idea of remembering something that you forgot a long time ago and trying to chase that memory again. So I asked my engineer/producer, “How do you say remember in Icelandic?” He said “Muna” and I said “Perfect, that is the title”.

MG: Can you compare your recording experiences of “Anar” and “Muna”?
MI: I recorded “Anar” in Chicago and I didn’t have a huge budget for it. I liked the idea though of keeping it simple anyway. I wanted to go in for a couple of weeks and have the recording sessions with local musicians and my friend Aida (Shahghasemi), who I have been playing with at the time. I originally went in to record an EP and ended up having way more material than I needed for an EP, so it turned into a whole record. When I was making “Muna”, I wanted to build on the experience of “Anar” and wanted to have a more lush sound with string arrangements. At the time when I was looking for a studio, I was recommend to a recording studio in Iceland. I knew it was a long way to travel but we decided to do it. Again a lot of local musicians got involved and it developed a more structured lush sound for this album.

MG: The album has religion overtones throughout, especially including part of “The Lord’s Prayer” in the track “Without a Map”; tell us about spiritual influence for this album?
MI: Yeah, I was reading a trilogy of books called “Conversations with God” by Neale Donald Walsch. It happened by accident really, I was visiting a friend of mine and while she was making me some tea, I was going through her books and I just came across these books. I didn’t understand how someone could be having a conversation with God. Was he actually having talks with God or did he make it all up? I didn’t know the answer but I liked what I was reading and ended up getting stuck into these books. At the same time, I was allowing myself to ask all these questions as well. So that was one of the main influences for me. There is also a musical called “Jesus Christ Superstar” by Andrew Lloyd Webber and Tim Rice, which is something that I saw when I was four years old. It really inspired my entire musical journey through my life and even now it still resonates with me with the songs and performances. It is a musical, so the story is told with song and there is this sort of call and answer between them. I think my approach to song writing is very similar. I have these conversations within these songs, I ask questions and answer them through the music. I ended up reaching through myself and finding out answers to questions that I realized that I already knew the answers to.

MG: “The Leading Bird” is easily one of my favorite tracks on the album; can you talk a little bit about how it was born?
MI: “The Leading Bird”, I actually co-wrote with my friend Aida. She is a friend of mine that I met when I moved to New York. She is a daf percussionist, which is like a Persian drum. She is also a vocalist. She first wrote a poem and then was writing music to it and she told me she was having an issue finishing it. She asked if she could play it for me and maybe I could help her. She played me this idea which was the verse and the bridge of what became “The Leading Bird”. She didn’t know where to take it. We forgot about it for some time and was both working on other things. I was writing this piece a while later on the piano, which I was really liking. It would become the cord progression of the chorus for “The Leading Bird”. When working on it, it occurred to me that it was perfect for Aida’s song. I thought if we joined these two songs together it would be perfect. When I saw her again, we joined the melodies together and put her lyrics over my parts and it was like it was always meant to be. It was a really incredible experience and I have never written a song like that before in my life. It was very inspiring to have this song born in this way.

Photo by Hordur Sveinsson

MG: My other favorite is “This Right Here”; any story behind this one?
MI: “This Right Here” is a very traditional love song with piano and vocal. It was actually written, the entire thing, music and lyrics within one afternoon. I had just sat at the piano and the song just appeared to me. That doesn’t happen very often. Usually an idea will appear and then I put a lot of effort in in order to crystalize the lyrics and music. But this song just kind of appeared, finished in a way. I don’t know how but it did [laughs].

MG: Was there any plan to the order of the songs on the album?
MI: Yeah, I spent a lot of time trying to figure out how to approach the track list. Mio (Thorisson), my partner, and I had been doing a lot of the post production on the album ourselves. We would burn CDs and listen to them in the car when we went on drives. We would then go back and fix different parts. We also burned them with the tracks in different order. Over the course of listening to these songs together and in different environments, it started to become really clear as how they should be arranged to showcase the gradual growth of the record over the 50 minutes.

MG: Tell us about your upcoming North America and Europe tour?
MI: It is going to be five of us on stage. Aida, who plays the daf and sings with me. Rob Bochnik and Joe Doyle are the bass player and guitar player, who were also part of The Swell Season and also in The Frames. The four of us have done some shows together before when we went to Asia last summer and it worked out really well. I am really excited that they are in for this tour. Also Rosi Golan, a Brooklyn-based singer/songwriter is joining us as a support act and also will be on stage for our set as a vocalist as well. So it is going to be a lot of fun.

Troy Baker is one of most well known voice actors in the business. He is known for his roles as Booker DeWitt in “BioShock Infinite”, Joel in “The Last of Us”, Kanji Tatsumi in “Persona 4”, Pain in “Naruto Shippuden”, Hawkeye & Loki in “Avengers Assemble” and The Joker in “Batman: Arkham Origins” and “Batman: Assault on Arkham”. In conjunction with New York Comic Con 2014 and the first annual New York Super Week Festival, Tina Guo will be performing as a guest artist in MYTHOS! A thrilling and unique concert experience, MYTHOS, showcases great music from across the spectrum of modern orchestral genres – inclusive of music from the concert stage, television and film, and video games – featuring the all-star orchestra The Third Estate, conducted by Grammy Award nominee, Austin Wintory, composer of Journey, as well as vocalists from Choral Chameleon.

Mike Gencarelli: Tell us about your involvement with “Mythos” video game concert?
Troy Baker: This counts as a win in my book for social media and for the community of gamers. I was a fan of Journey and especially the music. I reached out to Austin Wintory to compliment him not only on his amazing score but also his subsequent success. That began a long Twitter conversation back and forth about games and how we should collaborate on something musically. Also, competitive cat pictures might have been involved. This happened over at least a year and has culminated into this amazing event.

MG: What do you think that video game music is so important to its fans?
TB: The entire soundscape of a game plays such an integral part in the overall interactive experience. The same is true with movies. Dramatic moments are supported by a musical movement. Games are no different. Everyone can hum the underground tune from Mario Bros, some of us can hum selected themes from Final Fantasy of Metal Gear. What we’ve seen recently is how these thematic musical elements play such a crucial element, almost a character in these games. The main theme and even all the music from The Last of Us is a perfect example of this. Look how much of a role the music in Bioshock Infinite played in the overall experience!

MG: You have voiced many great video games including “Persona 4”, “Diablo III” and upcoming “Batman: Arkham Knight”; what do you enjoy most about video games?
TB: First and foremost I love being a part of making something that I’m going to geek out over later. As a gamer, I get to experience these games on two completely different levels and both are equally magical, first as an actor, then as a player. There’s not too many jobs that can boast that kind of benefit. I love that in the gamespace some no name kid from Texas can be a “leading man” in a huge franchise and maintain some anonymity that allows me to hide behind the character. I always want the role I am playing to take center stage, not me.

MG: Ranging from anime to video games; which is more challenging to work in?
TB: Both have their intrinsic challenges and each job requires a certain skill set. I view myself as a carpenter. I come into every job with my toolbox and I pull out the necessary tool for the job. At it’s root, however, everything I do has a foundation in just being an actor. Sometimes you’ll only use your voice and allow the animators to interpret your performance, others the onus is on you to present that character soup to nuts in your performance.

MG: How was it taking on the role of such an iconic character as The Joker in “Batman: Assault on Arkham”?
TB: In a single word: “humbling”. I grew up on Batman. It was my first comic I ever purchased. I’ve seen everyone from Caesar Romero, Jack Nicholson, Heath Ledger and, of course, Mark Hamill portray that role. To in any way be counted among those people, to have stepped into those shoes in any way, is an honor. I would rush home from school to make sure I caught Batman: The Animated Series on TV. Which to me, changed mover animation and how we tell a story in that medium. That show is unparalleled. To be directed by Andrea Romano was nothing short of a dream come true.

MG: What was the best part of getting to voice both Hawkeye and Loki in “Avengers Assemble”?
TB: The fact that they let me! I was cast as Loki first and really thought I would be recast as soon as I was cast in Avengers Assemble as Hawkeye. I’ve always loved Hawkeye, especially after The Ultimates series, because you got to see him as just a guy. Not a superhero with crazy powers, but just someone who is really REALLY good at what they do and can fight shoulder to shoulder along side a god, a gamma freak and a billionaire in an iron suit.

MG: Tell us about your first solo album “Sitting in the Fire”?
TB: It’s been such a labor of love. Some of these songs have been gestating for almost 10 years, waiting for the right time, right place. We finally found both. Our producer, Johnny What, our engineer and mixer Rob King and I, along with our musicians went up into the mountains of Big Bear, California with almost a half a million dollars in gear and tracked this record in an amazing cabin. It was a truly remarkable experience. Death bed moment for me. I’m proud and excited that the album is finally coming out. It’ll be available on iTunes, Amazon, Google Play and all digital retailers as well as an actual “digital LP” physical copy in select stores October 14th.

Weston Cage is no stranger to the entertainment business. The son of Hollywood heavy weight Nicholas Cage, Weston has dabbled in everything from acting and soundtrack scoring to fronting his own underground metal band “Eyes of Noctum”. Weston’s newest project is his first solo music effort simply titled “Wes Cage”. Media Mikes had the chance to speak with Weston recently about the project which he describes simply as “Ghost Metal”.

Adam Lawton: What can you tell us about your new single?
Weston Cage: “Tell Me Why” is one of those songs that is very different from the rest of the tracks on the album. The record was written with a specific formula in order to have traditional ghost metal sound. It is true to the essence of what I was going for. “Tell Me Why” has a lot of classic roots as it’s a little thrashy while the chorus sticks out. We used a detuned piano in the background along with a lot of industrial elements. My wife wrote the lyrics which are sort about this tortured individual. What’s amazing about the interpretation of the song is that the lyrics can be taken in any way that the listener wants.

AL: What was it like working with your wife on the song lyrics?
WC: It was very refreshing. It was easier for me as the lyrics I write tend to be a bit wordy. Sometimes we have to go in and sort of Frankenstein up my lyrics to make them a little more workable. Having Danielle come in for this track was really great.

AL: Can you tell us about the decision to shift from being in a band to being a solo artist?
WC: I definitely wanted to cater to a larger audience. I also wanted to experiment with some things that are disliked in the black metal genre. I wanted to add more industrial elements and draw on some of my world influence. I wanted to be able to just explore a little more. The other tracks on this new album have more of a symphonic/industrial element to them. Again I just really wanted to be free to explore my influences.

AL: What type of process do you take creatively when working on new material?
WC: It’s a pretty interesting process actually.  I am very unorthodox. I meditate and, during meditation I go so deep that I start to hear things which stem from the unknown. I might hear a melody or something and then elaborate from there. Before I know it I have two or three riffs and the rest of the song starts to come together. I use a variety of instrumentation while creating.

AL: Coming from a family mostly known for film what do you think it was that sparked your interest in music?
WC: Music has been a passion of mine from very early on. When I heard some of my great grandfather and great uncles music I got inspired. Some of that music from “The Godfather” really sparked my interest. As a kid there was always music playing in the background. Everything from Enya to Nine Inch Nails along with other music that had these vast array of sounds. Those definitely planted the seeds in my blood.

AL: Can you tell us about some of the other projects you have in the works?
WC: I have quite a few films lined up right now. I have one that will be shooting Portland that is sort of like a grittier version of “Harold and Kumar”. There are a few others that will be quite interesting as well. One film is dealing with Babylonian/Sumerian history. Musically has been pretty focused on this new solo stuff. On average I have been writing about 15 songs per month. Right now I think I have enough material for 4 more albums.  It will be the gnarly reduction process that I have to get myself through to get rid of the songs that maybe aren’t the best.

 

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Zeta Wave is the musical alias of Aliya Hashemi an up and coming singer-songwriter from Seattle, WA. Her unique sound draws influences from a variety of genres ranging from A Tribe Called Quest to The Beatles and Fiona Apple. Zeta Wave’s debut EP “Over” was released in mid October of this year and Media Mikes had the pleasure of speaking with Aliya recently about the new EP, her first exposure to music and the benefits of being an independent artist.

Adam Lawton: How did you get started in music?
Aliya Hashemi: That is something that goes way, way back. I had gotten a little red piano for Christmas when I was about 4 and from there I just loved anything that made noise. I learned piano when I was 8 and then moved on to flute when I was 12. I wrote my first song around that same time. It was actually an answering machine recording sung to the tune of the “Addams Family” theme song. (Laughs) Also during this time I began to be really drawn to the electric guitar. I don’t know why but it was something I had to do. From there I just started writing more and more songs.

AL: Tell me how you came up with name Zeta Wave?
AH: I have always had some reservations about going by just my name. I think sometimes when that is the case you can easily get billed as a singer/songwriter. I never really wanted to go the Folk route as I feel I have a little more of an edge. I was talking with a friend one night and we threw out the name “Zeta Wave”. I thought it was kind of interesting and spacey. Space is something I have always been interested in so I think it works.

AL: What can you tell us about the new EP?
AH: I have wanted to record now for some time. As I mentioned before I have been writing songs for quite some time. It really a big endeavor when you are putting everything together on your own. It’s pretty amazing now that it’s all done. I am excited to finally have an EP that’s done to the quality and standard that I want. There’s a song on the EP titled “Waltz” that is very dear to me. I lived in Seattle for a long time and the weather especially the winters are very depressing. This song is about being a part of something bigger than you despite what might be going on at a specific moment. It’s basically a love song.

AL: Can you tell us about the first single “Strange Heart Beat”?
AH: That song was one of a bunch that was written during a breakup I was going through. This was one of my favorite from those songs. It has a really catchy chorus and goes over well live. It actually features Zach Nicita from MSMR on drums.

AL: Can you tell how you ended up working with Zach?
AH: Well that song wasn’t originally going to be on the EP but we had some extra time so we added it to the release. A friend of mine turned me on to Zach’s YouTube videos and I thought he was just amazing. I sent him a message through Facebook asking if he would play on the track and he actually responded. It took a little while to get the track done as he was on tour with MSMR but I was patient and that track turned out really great. Zach is a guy who you can tell really loves music so getting to work with him was great.

AL: What is your creative process like?
AH: It has changed over the years. It seems as times goes on I tend to start with the melody. It might be just something I hear in my head and then leave myself a voice memo on my phone. Other times I might be playing guitar and I work out a phrasing and build a melody off of that.

AL: What do you enjoy most about being an independent artist?
AH: Being an independent artist gives you a lot of freedom. You are able to do want you want without any added pressure. There are certainly benefits to being on a major label as they are able to do a lot more but they also have a lot more control over the artists.

AL: Do you have any live shows coming up in the near future and, what do you enjoy most about performing for a live audience?
AH: I hope to do a little more recording, possibly shoot some videos and then start touring in the spring. I did a solo tour a couple winters ago as I figured it would fairly easy to put together since it was just going to be me and my guitar. One of the shows I did was in Washington near my home town and the weather wasn’t the greatest out so I figured the show probably wasn’t going to be overly crowded. There happened to be some older men there that stayed for show and listened to me sing all these songs about break ups and whatever else. They were probably the most intent listeners. It felt like I was singing to my grandfather which was just so great. I love the direct and honest connection you have with the audiences.

Tina Guo has developed an international multi-faceted performance and recording career as a classical cellist and heavy metal electric cellist, erhuist, and composer known for her distinctive sound and improvisatory style in major motion picture, television, and game scores. Tina toured with Japanese superstar Yoshiki of X Japan on his Classical World Tour, and recently appeared with the Tenerife Symphony and Choir in the Canary Islands performing “Batman: The Dark Knight” Suite at the 2014 Tenerife International Film Festival, featured on Electric Cello. In conjunction with New York Comic Con 2014 and the first annual New York Super Week Festival, Tina Guo will be performing as a guest artist in MYTHOS! A thrilling and unique concert experience, MYTHOS, showcases great music from across the spectrum of modern orchestral genres – inclusive of music from the concert stage, television and film, and video games – featuring the all-star orchestra The Third Estate, conducted by Grammy Award nominee, Austin Wintory, composer of Journey, as well as vocalists from Choral Chameleon.

Mike Gencarelli: Tell us about your involvement with “Mythos” video game concert?
Tina Guo: I’ve known Austin (Wintory) since University at USC and have enjoyed working with him over the years on all kinds of musical projects! In the Mythos concert, I will be playing cello on 3 different tracks that are based around the music from his Grammy-nominated score for the PS3 game, Journey, on which I did the original solos as well. I’m super excited and can’t wait to perform these completely new arrangements with a fantastic group of musicians in NYC!

MG: How much of a difference is there between the worlds of a classical cellist and heavy metal electric cellist?
TG: All music is music… for me there’s no difference between genres or even in different kinds of art, whether it be playing the cello, singing, dancing, painting… any kind of expression is expression, and some genres or ways of expression may be more suited to expressing different feelings or energies than others, but in the end, everything is simply a reflection of ourselves. I love dichotomy and extremes, and although there are some extremes between classical music and industrial metal, there are also heavy similarities. For me, the passion, depth, and fury expressed in these two genres make them siblings rather than opposite polarities.

MG: You have worked on various video games including “Diablo III” and “Call of Duty: Black Ops II”, what do you enjoy most about the genre?
TG: I love to work on all kinds of recording projects- on the Video Game Scores, working with the composers to create a feeling and bringing their notes and their ideas with what the cello and electric cello can bring mood-wise to the score is super fun! Video Games are an important and popular form of entertainment, and the music is such an integral part of it.

MG: Tell us about your one night only solo show “A Journey Through Music”?
TG: That’s my solo show at the Center for the Arts in Escondido, CA which is a gorgeous 1500 seat theatre in the San Diego area. I’ll be playing everything from classical works by Bach and Vivaldi to my Industrial Metal “Queen Bee” to covers of Beatles and Game of Thrones music. (I love Game of Thrones!!) I’ll be joined by a chamber ensemble of amazing musician friends from Los Angeles, my dad will be making a guest appearance to play the Vivaldi Double Cello Concerto, wonderfully talented Uyanga who is an ethnic Mongolian singer will be performing a few pieces with me, and my husband who composed the final two pieces in the show will be joining us onstage as well on keyboard/samples/electronics for those Trailer Music “Epic Music” songs. The show is sponsored by the Asian Heritage Awards, which is the evening before my show in which I will be receiving the 2014 Award in Innovation. I feel very honored and a little intimidated to be among the award recipients, who include molecular biologists, the scientist who discovered the greenhouse effect of halocarbons and led the first NASA assessment on the climate effects of non-CO2 greenhouse gasses, a California Assembly Speaker, the founder of the UCSD Skaggs School of Pharmacy and scientist responsible for uncovering the structure of neuroligin, the founders of the Global Institute of Stem Cello Therapy and Research… etc… and then… there’s me… Tina, the girl who saws wood. *hand to forehead* I’m very grateful for the Asian Heritage Society for sponsoring my solo show however, and I hope that I can express through the multimedia performance my version of Innovation through music and art. You can find more info here: http://artcenter.org/event/tina-guo/

MG: Tell us about your upcoming albums?
TG: I just released an album on Oct 1, 2014 called “Tina Guo & Composers for Charity” which is available on iTunes, Loudr.fm, Google Play, and other digital retailers. 100% of the album proceeds are going directly to The Mr. Holland’s Opus Foundation to support music education in our underfunded music programs here in America. 13 amazing Film, TV, and Video Game Composers (including Austin Wintory) contributed original pieces that feature the cello for the CD.  In February 2015, I will be releasing a Heavy Metal EP of Metal Classics played on Electric Cello with a full band- Raining Blood, Sanitarium, The Trooper, Iron Man, and Cowboys from Hell. The EP features guest guitarists on a few tracks, including my friends Al Di Meola, Wes Borland of Limp Bizkit, and Nita Strauss.

Dani Filth is best known as the founder and lead vocalist of the metal band Cradle of Filth. Filth’s newest musical endeavor goes by the name Devilment whose debut album title “The Great and Secret Show” will be released on October, 31st via Nuclear Blast Records. Media Mikes spoke recently with Dani about the new release, working with Bam Margera and the group’s upcoming tour with Motionless in White.

Adam Lawton: Can you give us some background on the formation of “Devilment”?
Dani Filth: A couple of years ago I met up with Daniel Finch and he asked me if I would be interested in working on a project with him. Over the course of those years the project has sort of grown and grown and flourished into a full blown band. All the members of the band live in pretty close proximity of one another and we are now set to release our first album. Scott Atkins who worked on the last Cradle of Filth album jumped on board helping with the recording process and we have been picked up by Nuclear Blast Records. Paul Ryan who was the original guitarist for Cradle of Filth is our manager/booking agent. He also is booking for Cradle of Filth now as well. We are keeping a lot of things in house with this project.

AL: What is it that you want to accomplish with this new album/band?
DF: It’s vastly different than Cradle of Filth. It’s a totally different entity in that’s its completely original. Each of the band members has their own unique perspective on metal and music in general. Our keyboardist Lauren doesn’t come from a metal background at all though she has come to appreciate it. Six of us have come together to create this unique thing. It is more riff driven and somewhat in the vein of Rammstein or White Zombie. The songs have more of a heavy groove to them. Lauren has brought this John Carpenter type vibe to the whole thing which is really great. The music is definitely in the realm of horror.

AL: With the music being different from your work with Cradle of Filth did you take a different creative path during the writing/recording process?
DF: Not overly. Cradle does a lot of stuff via the internet and then we all get together when needed for touring and such. With Devilment everyone lives locally unlike Cradle where members are literally spread across the world. Having everyone so close has made the experience different, as has writing in a lower key. Though I still write the same way as I always have I do approach the Devilment material a bit differently. I am a little more contemporary with the choruses and such. I don’t like to say it but the material has almost a pop sensibility.

AL: For the digi-pack release of the album you recorded a cover of Midnight Oil’s “Beds are Burning” can you tell us about that and, how Bam Margera ended up also on the track?
DF: That song comes wasn’t meant to be included on the 10 track version of the album. This song will be included on the special version along with two other songs. It sounds a little odd just because of the nature of the song. The original is a fucking awesome song and just very catchy. We have made it a bit heavier and added some keys to it as well. It has this “Exorcist”/”Tubular Bells” vibe to it. I chose Bam to sing on it because he actually owed me a favor. I sang at his wedding in Iceland last year so I thought I would return the favor. He went in to the studio with a producer in Philadelphia and his parts sound really great. The song has these kind of call and response portions to it. Bam sounds a lot like Pete Steele. It’s a very interesting and powerful track.

AL: Can you tell us about the upcoming video for the song “Even Your Blood Group Rejects Me”?
DF: The video is black and white with a splash of red every now and then. We worked with a photographer/video director named Scott Hunter. The video has a very cool fashion shoot vibe to it. It looks very contemporary and fresh. There is a lot of performance based elements that look really great. The way everything came together makes it one of those videos you have to watch a couple times just to be able to see everything.

AL: What type of tour plans do you have in place thus far?
DF: Cradle of Filth is heading out on the road prior to heading in to the studio in December. We will be in Russia for about a month then I have a few days off before hitting the road with Devilment. We will be out supporting Motionless in White and Lacuna Coil. That’s going to be a fresh experience for me being that we are not the headlining act. It’s going to be a big tour. This is Motionless in Whites first time in Europe.

AL: You just did a track with Motionless in White for their new album correct?
DF: Yes. That was actually unrelated and happened prior to the tour being announced. I suppose it garnered some favor. The song is called “Puppets 3” and it’s quite brutal. I was quite surprised because I knew of Motionless however I hadn’t really heard them. When I heard the track I thought it was a cross between early Cradle and At the Gates.

AL: Do you find it hard balancing your two groups due to them being quite different from one another?
DF: At the moment yes. The time factor has made things a bit tricky as we will be heading to Russia with Cradle, then I go out with Devilment and then come back to work with Cradle in the studio. There’s a lot of hard work ahead. Nuclear Blast has done a great job keeping me busy with press for Devilment it’s really great. It’s a bit hectic but it’s better than sitting around being bored.

Gary Cherone is best known as the lead singer for the group Extreme who dominated the airwaves in the early 1990’s with their song “More Than Words”. Cherone later went one to front Van Halen for a period of time. In 2007 Gary formed the band Hurtsmile with his brother Markus and the group has just released a new album titled “Retrogrenade”. Media Mikes had the chance to speak with Gary recently about the new album along with Extreme’s plans for 2014/15.

Adam Lawton: What can you tell us about the new album “Retrogrenade”?
Gary Cherone: This will be the group’s second release. My brother Mark plays guitar in the group. This album started much like the first one as it was interrupted my tour schedule with Extreme. The first album came out in 2011 and the new one will be out Oct. 6^th. I was writing for both projects and also touring with Extreme so because of having to juggle between the various projects this album much like the previous took a bit of time to get done.

AL: Can you tell us about the title and if there is any significance to it?
GC: Naming a record or a band is one of the most difficult things to do. I had a bunch of different titles in mind but this one came in the 11^th hour. The album is more in line with the classic rock that I and the other guys in the band grew up with. My manager was on me about naming the record as there were deadlines approaching. I had heard the word retrograde and knew that it had some negative connotations but how I looked at it was I saw the word grenade in it. It ended up being a combination of words as that’s something that I like to do. “Pornograffitti” for example. I emailed the title to the band and it was the first one that everyone liked. That’s what we went with and I think it fits the theme of this record really well.

AL: Did you notice any differences going into the studio this time around as compared to when you recorded the first album?
GC: At this point we are quite comfortable. We did a fair amount of pre-production at mine and Joey’s house. The process was pretty much the same as was the song writing. Mark will bring in a riff and I will scat over it. Joey was a big part of the writing this time around. Everyone really helped with all of the tracks.

AL: Can you describe yours and your brother Marks working relationship?
GC: We don’t throw fists anymore. (Laughs) I probably couldn’t be in a band with all of my brothers but with Mark I could be. When I started my first band he was the little kid in the corner that was always there. He picked up the guitar and went on to become a great player. I think with all these guys we speak the same language. With me and my brother its second nature. We know each other so well.

AL: What sparked your interest in deciding to crowd fund this album?
GC: At first I was a little reluctant. Pat from Extreme was working on a solo project and he was using the site “Pledge”. That was really the first I had heard of this type of thing. Pat was having great success with the program and helped him out by doing a couple videos to promote the project. The last thing I wanted to do however was to dig through my closet for old Van Halen stuff. After talking with my manager we decided to give it a try and it was a lot of fun. I got a lot of cool request to write some handwritten lyrics that weren’t just from songs like “Whole Hearted” or “More Than Words”. We were able to raise enough cash to do the record and a video. I was really happy with the process.

AL: Do you guys have any plans to tour behind the release?
GC: We release this album in October and do some region shows here in the states but then I have to take off for Los Angeles to some things with Extreme. At the top of the year we will be back doing Hurtsmile. We hope to hit some major markets with Pat’s band. I’m really looking forward to getting out there with this group at the earlier part of 2015.

AL: Can you give us an update on Extremes plans for 2014/15?
GC: We are gearing up to head out to Los Angeles to record an album at Nuno’s place. This summer over in Europe we performed “Pornograffitti” in its entirety. There has been a lot of demand for us to do that here in the states so we are working on doing that in early spring which will coincide with the release of the new album. We had a lot of fun playing those songs overseas so we are looking forward to doing the same thing here in the states.

AL: Do you ever find it difficult working with multiple groups?

GC: Extreme is the mother ship. Not to diminish Hurtsmile or anyone else’s projects but Extreme casts the widest net. That band makes it possible for us to do these other projects that we all have. Last year we worked around Nuno’s schedule with Rihanna. We all want to keep busy and everyone supports one another and a number of our projects involve more than one member of Extreme so we all work together.

Austin Wintory is a composer known best for his scores to the acclaimed video game titles “flOw” and “Journey”. His score for “Journey” was the first video game to ever be nominated for a Grammy Award for Best Score Soundtrack for Visual Media. Austin is currently taking the role of conductor for the upcoming concert called “Mythos”, which is a 70 minute continuous musical presentation played by a 15 piece classical ensemble performing live the music of composers for Film, TV and Video Games. Media Mikes had a chance to chat with Austin about the concert and what can we expect next.

Mike Gencarelli: How did you get involved with conducting the concert “Mythos”?
Austin Wintory: “Mythos” is a concept I first had in 2011, which I conducted as part of a fundraiser for my non-profit Education Through Music – Los Angeles. The idea behind it was to mix together some of the most interesting, engaging music in today’s scene, totally regardless of the media from which it came. I was approached by Peter Sachon about performing video game music during New York Comic Con, and pitched back the idea of reprising “Mythos.” And here we are!

MG: Having done scores for video games like “flOw” and “Journey”; was this a natural transition for you?
AW: Yes I’m fortunate to have lots of conducting opportunities, which I love taking advantage of in the midst of composing commissions. I grew up conducting in concert, but eventually my primary outlet for it was in the recording studio for films or games, so the onslaught of concerts lately has been a joyous return!

MG: When you did the score to “Journey”, did you ever think that this would become a Grammy-nominated score and the only video game every to be nominated in the “Best Score Soundtrack For Visual Media” category?
AW: Needless to say, not in the slightest. And now, almost two years later, it’s not really sunken in. It’s no less surreal than it was that day.

MG: What is the video game(s) that influenced you to do what you do?
AW: The infectious and witty nature of Tim Schafer’s games was a big part of my early gaming, and the music Peter McConnell wrote for them was basically the first game music I truly loved. It all culminated in Grim Fandango, which I think is one of the greatest games ever made, and with a score to match. It’s such soulful, passionate music and all around brilliant game.

MG: Why do you think that 8-bit music has stood the test of time and still resonates with fans?
AW: Chiptunes, those authentic early 8-bit hardware-based scores, were a huge musical contribution. There was nothing really like it before then. Electronic music was, before then, an extension of either the classical or rock scenes, using analog synths and tape manipulation and such. This, in games, was something now totally different. I think a big part of why it still resonates today is that the music was forced to distill a lot of dramatic intention into a very narrow bandwidth. But also a lot of game developers AND gamers alike are nostalgic to the games – and game scores – of their childhoods. So it’s gotten a revival as children of the 80s now enter the mainstream of professional game development.

MG: Can you tell us about little bit about what we can expect from upcoming game “ABZÛ”?
AW: Only that it’s still very early, and a massive delight to be re-teaming with Journey’s art director Matt Nava. I’m very very excited about this one!

MG: What can you tell us about your project “Our Curiosity”?
AW: This was a really special and wonderful experience. I’m a die-hard about NASA and scientific literacy in the general public, and this opportunity emerged to pay tribute to the Curiosity Mars Rover. An old friend, astrobiologist Jeff Marlow, had been working directly with the Curiosity team and so were able to get green lit to produce the tribute. We co-wrote the script, and then recorded our two narrators, actress Felicia Day, and acclaimed science educator Neil deGrasse Tyson. After that I wrote the score around the VO performances, and recorded it with a fantastic orchestra in Nashville. We co-directed the film and tossed it back to NASA who put it on YouTube. I like to think of it as an officially-sanctioned fan love letter.

MG: What else do you have in the works for the rest of the year and 2015?
AW: Lots and lots! But I will say, *hopefully* more Mythos performances!

Photo Credit: Laura Marie Duncan

Peter Sachon is a classical cellist that is currently playing in the orchestra for Broadway shows like “Pippin”. He is becoming know as being one of the “go to” cellist for recording sessions in NY. He is also a producer of an upcoming concert called “Mythos”, which is a 70 minute continuous musical presentation played by a 15 piece classical ensemble performing live the music of composers for Film, TV and Video Games. Media Mikes had a chance to chat with Peter about the concert and what can we expect.

Mike Gencarelli: I am in love with the idea of “Mythos”, the 70 minute musical presentation featuring the all-star orchestra The Third Estate showcasing the music of composers for Film, TV and Video Games. Tell us how this came about?
Peter Sachon: Thank you! “Mythos” began as a blog about video game music. I imagined the New York Philharmonic seriously performing thoughtfully considered and adequately rehearsed video game music for all those people who love Comic Con here in New York City. It is easy to dream about what a great concert that would be, and the different sorts of people who might come — perhaps many for their first live orchestra concert. After all, millions of people love the music from games. However, the truth is orchestras like the New York Philharmonic won’t program video game music. The only music that passes artistic muster at major American orchestras is classical music — and those living composers approved by culturally conservative critics at The New York Times and The New Yorker Magazine. Unfortunately, video game music does not meet their conservative prerequisites. Contemporary composers are writing music that’s both good and popular, and that apparently breaks those critical rules. The fact is classical music these days exists in a kind of artistic terrarium. It continues to live, sort of, if you leave it alone. (And don’t you dare suggest it’s not alive!!). But if you let the air in…watch out! This is why it’s a terrific idea for MoMA to present Tim Burton. Seemingly no one there bats an eye at labeling Mr. Burton a serious artist who’s work is worthy of consideration. Yet, somehow Danny Elfman’s music has managed to get played everywhere in the world except at the New York Philharmonic. I realized that writing and proselytizing about orchestras wasn’t helping anyone, so I decided to take action.

MG: What was the process for which pieces of music were chosen for this concert?
PS: It’s still an ongoing process! At the very beginning, when Austin Wintory and I first started talking about putting a concert together, the conversation was shaped around the aspiration of presenting the spectrum of modern composers together, no matter their genre — something that no major orchestra is willing to do, so far. Austin has composed some of the music (after all, this all started with me wanting to hear Journey in NYC), and he has arranged and curated other music into a single-movement work. The programming is ongoing and collaborative. I would like “Mythos” to demonstrate to even the most conservative of musical minds that making a bigger tent for how orchestras program repertoire can both expand orchestras’ permanent audience base, and revitalize orchestral music.

MG: Tell us about your decision to not list which music will be presented?
PS: Well, Boulez and his ilk have done a lot of damage with decades of anti-audience music, and so much of the audience still reflexively braces itself whenever they see a new name in their program. After fifty years of being force fed really foul “modern” music, who can blame them? The new music scene has gotten so esoteric that often it is better categorized as performance art. But this bias goes the other way too — the audience has also been carefully taught that music with titles like “Final Fantasy”, or “Star Wars”, are not to be taken seriously. We don’t want to tell people what they should hate, or like, ahead of time. So we won’t distribute programs until the end of the concert.

MG: Tell us how you ended up working with conductor is Austin Wintory?
PS: I read about Austin shortly after his music to Journey was nominated for a Grammy award. The nomination was an especially big deal because this was the first time a video game score had had that distinction. I fell in love with his music. It is beautiful and evocative, and smart. It’s terrific modern orchestral music, and I couldn’t help noticing that video game music suffered from the same artistic discrimination as film music. I wrote to Austin, cold, and told him that I admired his music. We have a similar outlook about modern genres and also we got along, and he could not have been kinder. I asked him about doing a concert of music from Journey here in NYC. He said yes, and we began talking about how best to present game music as art. Our answer is “Mythos”. We still haven’t met!

MG: Will this be a one-time only performance or will their be additional dates planned?
PS: There are additional dates planned, but nothing I can share as of yet.

MG: If people are looking to get more information on this; where can they go?
PS: Of course! Go to the “Mythos” website, www.mythoslive.com

MG: How does it feel to be considered the “go to” cellist for recording sessions in NY?
PS: Well, first I am one among many great cellists in NYC. I’ve worked hard, and I’m grateful to get to make music for a living.

MG: You are currently playing in the orchestra of Broadway’s PIPPIN; tell us about that experience?
PS: I have been fortunate enough to work on Broadway for ten years, and I have been with a number of shows. Playing in the orchestra at Pippin is wonderful. I especially love Stephen Schwartz’s music, and he’s been kind enough to compose two pieces of chamber music for The Cello Project.

MG: What else do you have in the cards coming up next?
PS: I will continue to produce “Mythos”, and I hope to finish my album of new music by Broadway composers by the end of the year. I have also begun creating and producing several Broadway musicals.

Nathan Hunt is the lead vocalist for the rock band Shamans Harvest. The group hailing from Jefferson City, Missouri recently released their 5th studio album titled “Smokin’ Hearts & Broken Guns”. Media Mikes had the chance to speak with Nathan recently about the albums creation, health issues that occurred during the process and how those events shaped the material contained on the new album.

Adam Lawton: Can you give us an idea of where the band was at prior to starting work on the new record?
Nate Hunt: We had just finished up a tour run and everyone was pretty much dead. (Laughs) It took about 2 months for everyone to get back together and starting writing for the new record. We were sort of struggling through the process and before we knew it a few months had gone bye and we knew we had to get going. We jumped in the studio and just started writing as we were recording. Someone would bring in a riff here and there and then we would make a song out of it. Once things got going it was a pretty painless process.

AL: At what point in the creative process do you start working out lyrics/vocals?
NH: It tends to be different for every experience. Generally things happen as the song progresses. I look at the core of things to see where the lyrics need to go. A lot of times it’s the guitar riffs that inspire the lyrics but again it is different just about every time.

AL: You had some major health issues happen while you were recording. Can you tell us about that?
NH: That was a very intense process. I think me being diagnosed with throat cancer certainly it helped from an emotional aspect as I sort of followed the 7 stages of grief. I started pissed off and sort of freaked out before settling down and deciding I was going to beat it. A lot of the songs were written of the stages I went through during the time I was sick.

AL: Did you guys ever discuss putting the album on hold till you were feeling better?
NH: I think we all felt the sense of urgency even before I had gotten the diagnosis. We were coming off of a successful single and we knew we needed a follow up as soon as possible. When I got the diagnosis things took on a whole new meaning. There was a chance that this album was going to be our last so we wanted to make the process as enjoyable as we could. Thankfully everything worked out in the long run and we now get to enjoy the fruits of our enjoyment.

AL: Did you have to alter your signing style at all while you were going through treatment?
NH: Oh yeah. The radiation treatment I was receiving doesn’t allow you to create your own saliva. There were a lot of different techniques I had to do just to be able to sing a few lines. This happening has really made me a better singer in the long run as I never really paid much attention to technique before now. I started seeing a vocal coach who helped me through everything and she was really like my savior throughout this whole thing.

AL: The album features a bunch of different musical styles. Was this something that occurred naturally or was that a conscious decision you guys made as a group?
NH: Things happened pretty naturally. I think this was sort of a byproduct of us all not listening to the same type of music. Personally I don’t want to listen to or play the same thing every time. Things just get boring when you’re doing the same thing over and over. I like when you are able to listen to an album from front to back without its vibe every getting tiresome.

AL: What are the bands plans for a new single and video release?
NH: We just shot a video for the song “Dangerous” in St. Louis. There is another portion of the video being shot in Chicago but as far as I know our parts are done. That should be out very shortly. I think there are plans to do another video as well however I am not sure which song it will be for.

AL: What are the bands upcoming tour plans?
NH: We are working on putting together a tour as we speak. We are kind of late in the game with this release as tour season generally starts in the early spring. We will definitely be hitting as many markets as we can here in the states during this quarter. We hope to be out till about February and then go from there.

Camden Cruz is the guitarist for the power metal band Seven Kingdoms, based out of DeLand, Florida. Camden also runs the Deland Rock & Metal Festival. This Rock and Heavy Metal event will host it’s first multi-day, with camping event and will feature 50 bands. Media Mikes had a chance to chat about the festival with Camden, find out about the show and what’s next for Seven Kingdoms.

Mike Gencarelli: This November brings us the 5th Deland Rock & Metal Festival, how did this whole thing start?
Camden Cruz: Well, I was tired of not having a place to play in my home town of DeLand. So, when Seven Kingdoms was ready to release ‘The Fire Is Mine’ album, It was a perfect storm to try and host it right here in my hometown. We started talking to a few possible places, and realized very quickly that this was probably going to be an outdoors event. That right there made me think “Festival”. So after a long process of finding the Festival’s Home, we landed right outside the downtown at OB’s. It worked out very well and we have kept this thing running, and are always trying to improve over every year.

MG: What is the process for how you managed to find 50 bands for this amazing line-up?
CC: I still don’t have a ‘Set Protocol” for booking the bands, but usually we will go and book the headliners or biggest acts first. Once we have released that info, we set the date and put it online. I think people really dig being able to watch a festival develop, even if on an event page. We start to put it together right in front of everyone online. We have TONS of bands apply for the festival from the state, and it increases every year. We try to base our selections on if we have an established relationship with the band, talent and drawing capability. We like to book bands that can really get behind the event and push it.

MG: What else can fans expect from this 3-day festival?
CC: This is the first multi day year. We are offering camping for the first time as a package, so that will be very interesting to see how it changes from a one day deal, to a whole weekend. It’s only going to be better, as we have split the days up almost by genre, so its even better for the bands, and fans as far as who they want to see, and who they are paired up with. I think that having a three day deal, will start to get more people there all weekend, rather than just there for one day. There is a LOT of music, a lot of drinks and a lot of food here!

MG: What are you personally most excited about this year?
CC: The Camping feature really is a huge deal this year. Also the VIP packages are starting to really get solidified. We have a package this year that is a really good deal and it comes with a lot of free things and perks. I think people will be really happy at the end of the weekend. I am also very excited to see how it all turns out, as this is expected to be our biggest year by far. We also have a large promotional video package that we will be filming on site that day, to try and do a bunch of footage and promos to put online shortly after we shoot that weekend, almost in real time! Doing what we can so people at home can see what they’re missing!

MG: Besides running this show, you are also lead guitarist with Seven Kingdom; tell us you are juggling all these hats?
CC: Haha, this honestly is only my second item to juggle out of about 4 jobs that I have. I play and organize in Seven Kingdoms, I work full time custom painting at Chris Cruz Artistry, I launched CCE Presents this year in January, and we’re really starting to pick up the number of shows we put on in Florida. I also help manage bands and tours when the offers come in, but that’s more of a side thing. It’s pretty stressful sometimes, but I would not trade the mix I have for anything. I seem to have a really nice balance right now actually. I have been booking shows for years, but this is the first year that I really set out to make a big difference and make it something. I’ve already put on 20+ shows this year and two festivals. Along with day work, the band and these other things, I hope the only way to go is up!

MG: What was your first experience to metal that locked you in for life?
CC: I discovered heavy music around 2004, while I was in Highshool and racing Motocross. I raced all my life until that point, and pretty much discovered this side of music in the last years that I raced. It was a pretty tough time for me when I was 16-19 as my parents were going through a major divorce and it pretty much drove us to stop racing, along with injuries. Because of the seriousness of racing, I was very disconnected from people at the private school that I went to at the time, and didn’t have a lot of friends until I was at the track. When it all went down, I didn’t have a lot of local friends, and I didn’t want to be at home. I found a plethora of people in the scene that became my friends because of the love for music. I was able to ‘get away’ from all of that when I listened to this music, which turned into me in a band with a new set of friends. I was able to escape my life in away and go to this completely different and new thing. It really made that time, not so hard, because I was either discovering new music, playing in one of the first bands I was in, or just hanging out, not thinking of things at home. So, I suppose you can say that that’s what made me a lifer!

MG: You guys were born out of Florida but have a worldwide fan base including Europe in which you just completed your final tour to support the last album; how does touring abroad differ from here in the states?
CC: It is completely different, but not so different all at the same time. I believe that the fans in EU truly have a harder time trying to afford the shows. I believe that is why there seems to be more die hards over there, because people are literally budgeting money they probably shouldn’t spend on concerts for their favorite bands. There is also just not nearly the amount of opportunity for people in general over there as it is here in the USA, so we are very lucky for that. I think that fans are fans, anywhere you go. Just sometimes the farther away you are from home, sometimes it adds to the ‘stigma’ of a band playing in a certain area, and gets people more excited knowing you are from far away.

MG: Seven Kingdom’s last album was “The Fire is Mine” in 2012, is there a new album in the cards and what can we expect?
CC: There is a new album in the works as we speak. We will take all of 2015 to write and record the album. We have a lot of inner workings to figure out, on how the album will be released, and through who. We are really hoping for an early 2016 release, with a full and proper tour to be booked along side that shortly after, but we just need to see how it all works out. It’s still way to early to nail those official things. The music itself will sound much like a continuation of ‘The Fire Is Mine’ but with more experience and maturity. We all are always growing together as musicians so the music will always improve over time. With every album we do, we start to sound more like Seven Kingdoms, rather than a bunch of other bands mixed together. So, we are just focused on writing a very solid album that will top TFIM, make us happy and also make our fans happy!

Kevin Riepl is the composer of horror films like “Silent Night”, “Contracted” and a segment from “The ABC’s of Death”. His latest film is the horror/thriller “Cabin Fever: Patient Zero” directed by Kaare Andrews (Altitude and The ABCs of Death) and staring Sean Astin (The Lord of the Rings Trilogy), Currie Graham (Pompeii, “NYPD Blue”), Ryan Donowho (Soldiers of Fortune), Mitch Ryan (“One Tree Hill”) and Jillian Murray (Bad Ass). Media Mikes had a chance to chat with Kevin about the score and working in the horror genre.

Mike Gencarelli: How did you get involved to score the film “Cabin Fever: Patient Zero”?
Kevin Riepl: I met the director, Kaare Andrews, when we worked together on his contribution to THE ABCs OF DEATH, “V for Vagitus”. When I heard he was selected to helm CABIN FEVER: PATIENT ZERO I was eager to have a chance to work with him again. Likewise for Kaare, so we submitted my reel to the producers and once they were on board, we were all set to go.

MG: Did you look back at the previous two films for any ideas?
KR: I refreshed myself a little bit with the first film’s score. As much as we wanted to create something new, we also wanted to carry over some of the ‘rawness’ of Nathan Barr’s score and incorporate a lot of scratching and dissonance in the string instruments.

MG: What was your biggest challenge you faced with this film and was this score unique in any way from your previous scores?
KR: I think the main challenge on the film (even though it wasn’t really a big challenge) was coming up with and deciding on the palette for the score and what style would best support the story and its setting. I do believe this score is unique from any of my previous scores and that is because this film is different from previous films I’ve scored. Yes I’ve scored a decent amount of horror and thriller, but each of those has been artistically different from each other as well. A film’s story dictates the sound and style of the score. If you look back through my previous films many of the scores are quite different and unique to the film. That’s the ultimate goal – to give each film its own sound. Of course it is a collaborative effort with the director since it’s their vision, but I try to bring ideas to the table that will help their vision stand out and be that much more unique.

MG: You have worked in the horror genre before with projects like “The ABCs of Death” and “Silent Night”; what do you love about the genre itself?
KR: It’s usually dark, gritty and fantastical. Ever since I started music at a young age I’ve always wanted to explore the darker side of music, melody and sounds. As much as I love writing all styles of music, it seems that the horror genre lets me experiment a little more when writing scores. Being a creative person, how can I pass that up?

MG: “Contracted” was a sick film BTW; tell us about your process for this film?
KR: CONTRACTED, indeed, was sick and A LOT of fun to work on. Eric England is a young director and has so much to offer the film world. It was great to work with him on this film. At the very start, Eric knew he didn’t want traditional ‘horror’ music. So we approached the score with a synthetic, almost ethereal sound to help support the main character’s innocence and naiveté, until of course things start to go south. At that point I start to include more grit and experimental sounds and rhythms to help throw the viewer off balance so they can feel as much angst as the main character does as she goes through her changes.

MG: How is it going from scoring video games to TV or film? Which is more challenging?
KR: I don’t find it to be challenging. It’s all music. Yes, there are specifics and deadlines you need to be concerned about during the process of creating for each medium, but in the end it’s still about coming up with ideas and you’re still supporting story and visuals. The most important thing and it is sometimes a challenge, is scheduling…especially when you have a video game, a TV show AND a film on your plate.

MG: What else do you have in the cards coming up next?
KR: I just recently completed the action thriller THE NIGHT CREW directed by Christian Sesma. Hopefully I will have more news concerning the release of the film and an official soundtrack. Other than that, I am currently working on Ubisoft’s and Signal Studios’ TOY SOLDIERS: WAR CHEST video game as well as a small independent feature.

Former Misfits guitarist Doyle Wolfgang Von Frankenstein is currently out on tour in support of the band’s debut release titled “Abominator”. The band which also features vocalist Alex Story, bassist Left Hand Graham and drummer Anthony “Tiny” Biuso will be out on the road through August and Media Mikes had a chance to speak with the band prior to the tours kick off in Rochester, NY where we talked about the recent departure of drummer Dr. Chud as well as what the band has planned for the rest of this year and beyond.

Adam Lawton: Can you tell us what happened with Dr. Chud deciding to leave the tour prior to its start and what your most looking forward to about getting out and playing the new material live?
Doyle: He just decided not to come out on the road with us. That’s pretty much all there is to it. We are looking forward to just ripping stuff up every night we play. Tiny our new drummer came in on short notice and just really energized all of us. Tiny is a guy I met at the NAMM show one year and we just hit it off and became friends from there. He was always asking me about who was drumming for me at the time and what not and now he is the guy.

AL: Can you tell us about the VIP packages that you are offering at each show?
Doyle: We are doing VIP meet and greets after every show on this tour. Along with getting to meet the band you get a free music download, a tour laminate and a signed photo. It’s a chance for fans to get a little more out of coming to us.

AL: You shot a DVD for your previous band Gorgeous Frankenstein. Will you be doing any shooting while out on this run?
Doyle: I think we have a guy coming out to film the New Jersey show and also to do some footage at the Connecticut and Los Angeles shows. Alex and I will also be doing a new photo shoot with Jeremy Saffer while we are out on the road which should be really cool.

AL: With “Abominator” being out for a couple months now what has been people’s reaction to it?
Doyle: I think everything has been really great. I really like the album and I think if people haven’t done so yet they need to go out and buy it! (Laughs)

AL: You have said before that during the writing process you wrote enough material for two more albums. Can you tell us the status of those?
Doyle: Everything has been recorded. All we have left to do is finish the drums and then mix them. From there we will get the artwork done up and proof all the words for the album notes. We are shooting for a spring 2015 release date.

AL: Alex, when you were putting this material together what type of process did you guys have for writing?
Alex Story: When we were first putting this all together Doyle gave me a list of things that he liked to hear songs about. There was a lot of stuff about strippers and Satan in there. (Laughs) I really challenged myself and tried to write a song about everything he mentioned in his list. That’s really where we went from. Doyle writes all the music and arrangements. He gives me full bass, drum and guitar tracks and I really don’t like to ask him to change things around for me so I just go with what I am given. I try to write vocals that accent his playing.
Doyle: Sometimes he writes songs in a day and sends them over to me which is just crazy. He sends me stuff that he has screamed in to his laptop.

AL: When Doyle is out on the road with Danzig what do you do to keep busy musically?
AS: I have another band that I have been doing for years called Cancerslug. I do that in my off time and when ever Doyle is ready I shift gears and we do this.
Doyle: It works the same way for me when I am working with Danzig. When he calls we go out and do it and then we go back working on this.

AL: What are your plans for the next Cancer Slug release? And how have things changed for the group since you first started?
AS: Cancerslug is sort of like my little pet project. Once things sort of slow down here were going to put out a new album. We have a really solid line up right now and our last tour was very successful so we are looking to do another run of shows as soon as we can. With Cancerslug I just sort of throw these ideas down when I have them and if people like it that’s cool if they don’t, they don’t. Once I get some down time from doing this I will start work on all of that. When I first started Cancerslug there was no internet or cell phones which made being independent very difficult. Nowadays it makes doing a project like Cancerslug a lot easier as there are just so many ways to get yourself out there which makes splitting my time between the two bands that much easier.

AL: Can you tell us about your upcoming appearance in Alan Roberts “Killogy” comic book?
Doyle: I toured with Alan years ago when we were out on the road with his band Life of Agony. He called us up one day and asked if I would be interested. I just got the draft of it the other day and it looks really great. I think the plan is to have it out around Halloween time.

AL: This first run of shows is just a month long. Are there any further plans to continue touring throughout the rest of the year? And is there any chance of seeing you do some shows with your girlfriends band Arch Enemy?
Doyle: We are working on a bunch more stuff here in the States for the coming months. As for shows with Arch Enemy we are trying really hard. It’s up to Angela. I am afraid of her! (Laughs)

 

Mark Heylmun is the lead guitarist for the heavy metal band Suicide Silence. The band recently released their 4th studio album titled “You Can’t Stop Me” via Nuclear Blast Records and is featured on this year’s Rockstar Energy Drink Mayhem Festival. Media Mikes had the chance recently to speak with Mark about the new album, the bands new singer and how they overcame the loss of the bands original vocalist Mitch Lurker.

Adam Lawton: With the new album being out just over a month now what has the overall reception been like from the fans?
Mark Heylmun: It’s been really amazing. To be honest I am waiting for this whole thing to become difficult. This time last year I was looking into the future thinking that things were going to be very hard. I knew we were going to have to be comfortable with whatever happened and just ride it out. The record is out and people a really loving it. Were out on Mayhem right now and it feels like were just killing it every day.

AL: What was it like for the band working on both new material and with a new singer all at the same time?
MH: We had to build a working relationship with Eddie. We were of course friends beforehand but Eddie’s the type of guy who when you catch up to him you have to hear all of what he has going on. Building that new relationship was a lot of fun because he is our friend and now he is in our band. Surprisingly it was a very easy transition as he works in the same way Mitch worked. We would give him a song and he would either feel it or not. With Eddie being new to the band things were very fresh for him and us as well which made the experience very exciting. In a week we wrote 3 songs together. After those first three songs were written we knew things were going to be ok. This was the first time as a band that we all collaborated together on material. It was very much a group effort this time around.

AL: The album features two songs written by Mitch before he passed away. Can you tell us about those?
MH: One of those tracks is actually a really old song that appeared on our first EP in 2005. We wanted to redo it because we have had a lot of requests to hear those songs. We chose “Ending is Beginning” because it just made sense with what we are doing. A lot of friends wanted us to do one of these old songs as well to see if Eddie could really pull this off. He just slayed it! “You Can’t Stop Me” is the other track Mitch was working on and it’s one of the two last songs we worked on with him. “Blue Haze” was the other track which appeared on a B side. The music for both of those songs was done in the same writing session in 2012. Mitch had only written lyrics for one and we had to looks at those and figure out which song they were actually meant for. It ended up being very easy to figure out because of the structure in which the lyrics were written. The song had no title but the lyrics were “You can’t fucking stop me!” so we really took a lot from those words as it just all fit so well with what we were doing and what we were going to have to do in the future. That song really built us up. Even though Mitch wasn’t physically there he still had a lot to do with the latest record.

AL: What was it like on an emotional level revisiting these songs?
MH: The whole time we had it in our minds that we wanted this album to really mean a lot. We wanted this album to be all that it could be. We postponed jamming and getting together with Eddie until we could all be there at the same time. We got those lyrics sent to us and we all read them together. From there we just started jamming and playing music together. I remember that first session and we didn’t even really play Suicide Silence songs at first. We were playing songs by Pantera, Metallica, Sublime and Offspring. Eventually we started doing our songs but it was just an emotional time that felt new and very real.

AL: So far you have released 2 songs off the album as singles. Are there plans to release any others?
MH: We have had the discussion. We couldn’t really decide which songs we wanted to roll out first because we liked all of the songs. There is potential to release a video for every song off the album. We have a pretty good video team that is in our world and we facilitate all those things. We have a bunch of ideas right now on what to do.

AL: Have you found people are more focused on this being the band’s first album with a singer as opposed to it being your senior release?
MH: A lot of people ask if we feel like this is our first record. I don’t think it feels like that because we are building off of what we have learned from each other. “The Cleansing” was our first full length and that album was really done because of the response from our EP. We had a lot of offers come our way and we had to decide which would be best for us and then write a record. We wrote the record because we had gotten signed and that record was our reaction to those events. We learned that we had to put ourselves in a position to where we were motivated to write. We learned a lot over the course of three records and this new album is the culmination. I think after this we have really learned to write a piece of music and I am looking forward to continuing with what we are doing.

AL: With Mayhem Fest wrapping up in August does the band have any plans for the remainder of 2014?
MH: We will be a part of this year’s Knot Fest which is being held in San Bernardino, CA in the later part of October. That’s going to be just an insane time. We also will be heading over to Europe in November for a tour run over there as well.

The southern heavy metal band Texas Hippie Coalition are set to release their fourth studio album titled “Ride On” in mid October of this year and are currently out on tour as part of this summer’s Rockstar Energy Drink Mayhem Festival. Media Mikes was able to catch up with the leather vested 4 piece backstage in Scranton, PA recently to discuss the bands upcoming album and the bands progression since their debut release in 2008

Shawn Meas: What can you tell us about the bands upcoming album?
Texas Hippie Coalition: It’s going to be bad ass! We went back to more of our roots on this album and it’s going to be really hard hitting. We went and worked with Skid Mills at the Sound Kitchen and it turned out really well. We are anxious to hear what everyone thinks. We definitely went back to the format of the first record while spending more money. (Laughs)

SM: What type of process do you guys take when starting to record a new album?
THC: We start off by drinking a little moonshine and smoking a little weed. Then we cuss a little bit and things start to work. (Laugh) Cord Pool and I (Big Dad Ritch) are the only guys in the band who can really do math so song structure is pretty easy to come out. (Laughs) I think if we really used any true written format that it was the same every time we wouldn’t have as good of a creative flow as we did. Things are never the just as long we are all in good spirits and have positive energy around us we can write good tunes together. This time we flipped things and worked on the album early in the morning as opposed to late at night because you could never get all of us in the same room at the same time when it comes to working at night. (Laughs)

SM: How do you feel the band’s sound has evolved from your debut album “Peacemaker” to your upcoming release “Ride On”?
THC: I think we have evolved as players. With the new record we certainly tapped into our roots but we are all better players these days. With this band you get what you came for. We try and keep things real and carry out that theme from album to album.

SM: The band has gone through a number of lineup changes to get to where it is now. What do you guys feel each of the new members bring to the band?
THC: This is actually Timmy Braun’s second album with us. He left for awhile to do some side projects that he has and now he back. We are happy to have him back 100% now. Cord has actually been with us since the release of “Peacemaker” however he joined just after we finished recording that album. We have a pretty good team of guys and we are all having a lot of fun. Cord does seem to be everyone’s favorite though and he has said that if he was ever fired he would still show up anyways. (Laughs) Getting out here is like a bull ride with the music business being the bull. It can take a lot out of you and all four of us can take it while some of our previous members couldn’t stay on for the full 8 seconds. This crew is going to be there at the end to get our buckle!

SM: What are the bands plans for the rest of 2014?
THC: The first single off the new album just got released and is titled “Monster and Me”. The full album titled “Ride On” comes out October 7^th and we have a lot of stuff going on leading up to that release date. We are going to be making stops at Gas Monkey Garage in Texas and also playing at this year’s Ride for Dime. Once this album comes out we are going to be going through some tires! There are still a lot of people who aren’t familiar with us so we want to get out there and try to get in to as many homes as possible.