3
“The Ghost You Gave Me”
Metal Blade Records
Tracks: 12

Our Score: 2 out of 5

“The Ghost You Gave Me” will be the 6^th studio release for the Woodstock, NY band 3. “The Ghost You Gave Me” is a rock infused blend of melodic vocals and stylistic guitar lines that captivate the listener from the very start. 3 formed in 1994 and quickly made their way up the progressive music ranks and in 2008 the band was part of the progressive rock package tour “Progressive Nation” which also featured Opeth, Between the Buried and Me and Dream Theater. “The Ghost You Gave Me” is the bands follow up release to their 2009 album titled “Revisions”.

“The Ghost You Gave Me” I found to be an interesting listen. The album was vocally very melodic and well performed even though I would have prefered a little heavier less dated approach. At times the music seemed weak and the instrumentation was not on the level of some other progressive bands however each member did have specific moments throughout the album where they could shine. A couple highlights off the album consisted of the title track “The Ghost You Gave Me” as well as “Pretty” which featured a catchy sing along type chorus that was enjoyable to listen to.

3’s “The Ghost You Gave Me” didn’t do much to impress me. In looking at the progressive music genre as a whole I think there really needs to be something new to come along and in a sense one up what bands like Dream Theater did starting in the mid 80’s. If bands such as 3 keep putting out dated interpretations instead of new and fresh material the genre progressive will surely slip further into the obscure.

Track Listing:
1.)    Sirenum Scopuli
2.)    React
3.)    Sparrow
4.)    High Times
5.)    Numbers
6.)    On With the Sun
7.)    The Ghost You Gave Me
8.)    Pretty
9.)    Afterglow
10.)  It’s Alive
11.)  Only Child
12.)  The Barrier

SS-Kaliert
“Subzero”
People Like You Records/Century Media
Tracks: 13

Our Score:  3.5 out of 5

“Subzero” is the 3^rd full length album by German hardcore/punk band SS-Kaliert. “Subzero” is the first release by the band via People Like You Records and the follow up album to the bands 2008 release titled “Addiction” (razorblade Music). “Subzero” features a new SS-Kaliert line up which sees Moritz taking over the bass playing duties for former member Nils who left the band for personal reason in April of 2011.

“Subzero” is tinged with early 80’s punk styling’s and the album has is very straight forward in its approach. With the exception of a few vocal over dubs the album is very stripped down and clean or dirty depending on how you want to look at it. Each track on “Subzero” is in your face and for the old school punkers out there who had long retired their leather jacket and Doc Martens this album may have them thinking about knocking the dust off and coming out of retirement for one more spit filled outing. Songs like “I.H.D.2” and “Unnerwegs” with have your lip snarled up and your fist pumping in the air just like the good old days at CBGB’s. What stuck out most for me about “Subzero” was the fairly impressive guitar work of Benni and A.G. who in a very un-punk way can play pretty well and songs like “Es Es-Kaliert” and “Good News (Ladies & Gentlemen)” are prime examples of those skills.

SS-Kaliert’s “Subzero” is a great representation of old school Oi! punk but with an updated feel. And though the sounds heard on “Subzero” may be reminiscent of the Reagan Years “Subzero” is a very modern punk album!

Track Listing:

1.)    Vorhang Auf
2.)    Es Es-Kaliert
3.)    Subzero
4.)    Burn Down
5.)    Sayonara
6.)    Make Them Crash
7.)    S********
8.)    Der Parasit
9.)    I.H.D.2
10.)  Russian Roulette
11.)  Unnerwegs
12.)  Good News (Ladies & Gentlemen)
13.)  Jetzt Oder Nie!

The Tangent
“COMM”
Inside Out Music
Tracks: 5

Our Score: 2.5 out of 5

“COMM” is the latest release by the progressive rock group The Tangent. The album features 5 new tracks and is the follow up release to the bands 2010 release “A Place on the Shelf”. “COMM” is also the 4^th album released by the group in 4 years and is the bands 7^th album overall. “COMM” is full of extravagant instrumentation complimented by a variety of keyboard sounds provided by band founder Andy Tillison as well us some amazing guitar lines by 22 year old Luke Machin. “COMM” takes the listener on a sonic journey from the very first notes on track one all the way through to the last note of the final song.

The Tangent’s latest release “COMM” is full of quirky over synthesized tracks that really did nothing for me. As a listener I found it very hard to connect with any of the albums 5 tracks. Even with funny titles like “The Wiki Man” and “Tech Support Guy” drawing me in I just couldn’t find anything that appealed to me on this album. “COMM” does feature some very good playing by all the members of the group however I would have rather seen them sacrifice some of that playing for better song structure. If you are a fan of The Tangents previous releases then I am sure that “COMM” will fit right in with your collection but I don’t think the album has a strong enough appeal to draw in new listeners.

Track Listing:

1.)    The Wiki Man

2.)    The Mind’s Eye

3.)    Shoot Them Down

4.)    Tech Support Guy

5.)    Titanic Calls Carpathia

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Kiros
“Outlaws and Prodigals EP”
ANGR/Century Media Records
Tracks: 3

Our Score: 3 out of 5

The “Outlaws and Prodigals EP” features two new tracks from the Canadian based band Kiros. The tracks are a part the bands upcoming release titled “Lay Your Weapons Down”. The full length album is slated for release in 2012 via ANGR Records and will be the bands first release on this label. The two new tracks and b-side acoustic performance will be available exclusively through iTunes while the bands is on the road touring with the Music With a Mission Tour which features bands such as Manafest and Firefight. The EP will be available starting September 27^th 2011 via iTunes digital download.

If the “Outlaws and Prodigals EP” is just a taste of Kiros upcoming release then I can’t wait to hear the full length album. Both songs on the EP have a really great sound to them and the instrumentation was very lush and complimented the vocals quite well. The track “Desperation Calls” has a catchy sing along chorus that just gets stuck in your head. My only complaint was that I wish they released a third new song rather than an acoustic interpretation of one of the songs already contained on the EP. If you get a chance definitely take a listen to Kiros “Outlaws and Prodigals EP”.

Track Listing:

1.)    Outlaws and Prodigals

2.)    Desperation Calls

3.)    Outlaw and Prodigals (acoustic)

“Tony Levin is one of the world’s best bass players, if not the best.” – Peter Gabriel

So true.

Tony Levin (aka “TLev”) is the bass player’s bass player. Incredibly accurate in his musical phrasing but always matching the song’s mood with a sense of fluidity and true funkiness, Tony’s playing is always recognizable and unmistakable. At the forefront of experimentation, the array of instruments at his disposal isn’t strictly limited to his signature Music Man bass (which he often plays with “funk fingers” – an invention of his own design that allows him to hammer on the strings with half-size drumsticks that he attaches with tape to the index and middle fingers of his right hand), but includes the polyphonic Chapman Stick as well the Electric Upright Bass (EUB) and a host of other instrumentation.

Levin is primarily known for his work with King Crimson and Peter Gabriel as well as numerous spin-off projects like Stick Men (featuring two Chapman Stick players and current Crimson drummer, Pat Mastelotto), the Liquid Tension Experiment (with members of Dream Theatre), in addition to a host of King Crimson-related “ProjeKcts”. Over the course of his extensive career, he’s been involved with over 500 records as a session musician. The list includes some of the best-known artists in the business: John Lennon, Lou Reed, Alice Cooper, Todd Rundgren, Pink Floyd, Yes and Warren Zevon – just to name a few. And then there’s the list of musicians he’s toured with: Paul Simon, Peter Frampton, James Taylor, Richie Sambora…

He’s just finished being a part of the “Three of a Perfect Pair” Camp, a week-long music camp in New York state that allowed its campers – musicians and non-musicians alike – to learn from, jam out and hang with three members of the Crimson court: Adrian Belew, Pat Mastelotto and, of course, the esteemed Mr. Levin. In mid-September, the three Crims embark on the “Two of a Perfect Trio” tour which pairs Belew’s Power Trio with Levin’s Stick Men trio. The show closes with “an extended Crim-centric encore.”

I caught up with Tony between the last day of Camp and the start of the tour to chat about both of these topics as well as some of his wide array of side projects and session work. We also talked about how he goes about writing music and choosing from the myriad of instruments he’s mastered. I managed to squeeze in a couple of questions that only the seasoned Crim / TLev fan (a la “DPic”) would ever really care about – and even posed a question from one of his former touring buddies, Rick Wakeman of Yes. Tony’s answer was truly mind-boggling…

Dave Picton: How’d it go with the “Three of a Perfect Pair” Music Camp?
Tony Levin: Very well. I knew it’d be fun, but it turned out that the vibrant ‘campers’ and their passion for King Crimson’s music made it a growing experience for me. And I got the feeling they were really pleased to spend the week in that setting, hanging out with us Crimson guys. We also were able to get a lot of surprise gifts for them, which didn’t hurt!

DPic: What was the genesis of the “Two of a Perfect Trio” tour?
TLev: Seemed a good name for the tour – it’s based on the song title “Three of a Perfect Pair”. Since we have two trios… The idea for touring together, and with a Crimson based encore set, came from Adrian. He’d been thinking for some time of doing something like this with Pat and me.

DPic: “A Scarcity of Miracles” is the latest King Crimson ProjeKct. What has been your favorite ProjeKct to date (and it doesn’t necessarily have to be one that you were a member of)? Opinions / observations about being in the projeKcts (so to speak)?
TLev: The thing about me is that, like many musicians, I don’t look backward much. So I don’t even know the list of ProjeKcts I’ve done, let alone have a favorite. I can say that all of my playing in Crimson-related groups has been a great experience for me – expanding my own playing, and learning from some very special musicians. I also hope there will be lots more of it in the future.

DPic: The list of artists with whom you’ve done session work is staggering. Is there a favorite musician that you’ve worked with? Any favorite behind-the-scenes story?
TLev: Again, no favorites. Looking back, I’d have to say that my experiences with Peter Gabriel and with King Crimson (each encompassing many albums) were great for me. I also toured a lot with each, and that makes it a more complete experience – really I prefer playing live to recording, but doing both is the best way to immerse yourself in the music.

DPic: When you’re creating a song or contributing as a session musician, how do you choose between using electric bass or Chapman Stick or Electric Upright Bass?
TLev: A good question. There is no rule for me, but when I hear the song (or the composition, if it’s an instrumental) I get a sense of what I think I can contribute on the bass end. It may be simple or complex, but I sort of hear it in my head – then I can choose the instrument that might express it best. Even among my basses there are subtle differences that make some much better for certain things I might want to do. The Chapman Stick is very different, with it’s sharp attacks and huge range. I also sometimes opt for the NS Electric Upright with it’s almost acoustic bass- sound, and huge bottom end. If I’m writing the piece, sometimes I just write the music, and then approach it later as the bassist – choosing then. Sometimes of course I base the song on a riff or idea I have on a particular instrument. With Stick Men, needless to say, I write my material on the Chapman Stick.

DPic: As an aspiring bassist, I’m very intrigued by the Chapman Stick and would love to try one out before committing to buying one. Do you know of any way I (or any other Stick-curious folks) can try/rent one out?
TLev: Best idea is to contact Stick Enterprises (stick.com) and ask them – they might be able to hook you up with a player in your area, so you can try it out and have some guidance. There is a very nice community of Stick players around the world.

DPic: Your book, “Beyond the Bass Clef”, is one of the most enjoyable music-related books I’ve ever read. Any plans for a follow-up (i.e. “Way Way Waaaaay Beyond the Bass Clef”)?
TLev: Good idea – but no plans at the moment. Books and photo exhibits are great fun, but time consuming, and best done when no recording or band projects are taking up my time and creative energy. Lately, happy to say, I’m very busy making new music.

DPic: You were one of the first musicians to actively blog and keep an ongoing road diary on the web. In your opinion, how has the internet and the web affected music and musicians – both positive and negative AND you personally?
TLev: For me, it was quickly apparent that this was a great way to minimize the wall between performer and audience. It doesn’t take it away, but gives a way to share more of the experience than just the show. So I like showing behind the scenes, and telling what’s going on, and especially sharing my photos of the audience – so people who were there can see how inspiring they are to us on stage, and how they are really in some ways a part of the show.

DPic: A few years back, I spoke with world- renowned trumpet-player Chris Botti at a post-show meet-and-greet where he was kind enough to sign my copy of “Bruford Levin Upper Extremities: Blue Nights”. Many of his band-mates had never seen the CD, so he showed it to all of them and told me “I’d love to work with those guys again!” Soooo…would you be game? What about Bill Bruford and David Torn?
TLev: Always something we discuss when we meet up. Realistically, it’s been pretty unlikely for some time, and now more so, with Bill’s retirement from playing live. We did have great fun, and made some darn good music. You learn to never say never in music situations, so I’ll stick with ‘unlikely’ but add that it’d be really great if it did happen again.

DPic: One of my all-time favorite bands is Pink Floyd. On the “A Momentary Lapse of Reason” album, you played all of the bass parts. What was that experience like?
TLev: Very special. David Gilmour was great to work with, as was producer Bob Ezrin, whom I’d worked with a lot before that. Playing the music was fun, and once I got the hang of the style, it went smoothly. There was a chance of touring with the band too but, alas, it conflicted with a Peter Gabriel tour I was on.

DPic: OK…drum roll please…it’s time for the “Picayune Crimson Question That’s Plagued Me for Ages!”: On the initial LP release of “Three of a Perfect Pair”, the opening to the song “Sleepless” is a continuous non-stop bass riff extravaganza that’s – as far as I’m concerned – one of the funkiest I’ve ever heard. On all subsequent compilations and reissues, it’s markedly more staccato. Why is that? And will the original mix ever be reissued? I miss it!
TLev: I’m afraid I don’t know! I’ll try to find a copy and listen.

DPic: You were involved with the Yes-centric “Anderson, Bruford, Wakeman and Howe”. Earlier this week I interviewed Rick Wakeman. He wants to know when you’re going to get a proper haircut.
TLev: Indeed! I miss my nightly Boggle games with Rick. We’d play right up to beginning of show time … heck, even after it, since it began with a Steve Howe solo – then Rick would jump up to run onstage and play his solo section – having usually beat me, I must admit!

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Arguably the best and certainly the most well-know band in the progressive rock arena, Yes has always been at its forefront and is no stranger to the one constant of the genre: perpetual change.  No one knows this better than the eternal voice of Yes, Jon Anderson.  His unique powerhouse alto tenor vocal is the anchor point to decades-worth of the band’s music, from multi-part opuses like “Close to the Edge” to the MTV-era chart-toppers like “Owner of a Lonely Heart”.

In mid-2008, Anderson was diagnosed with acute respiratory failure and has since made a full recovery.  While no longer the lead singer of Yes, the past year has found Jon working on a wide variety of projects including a collaboration with former Yes keyboardist Rick Wakeman, 2010’s “The Living Tree”, and the recent solo release “Survival and Other Stories”.

To say that Rick Wakeman is an excellent keyboardist is a grotesque understatement. Throughout his career – and most notably as the keyboardist for Yes during thier “classic” era – Rick’s astoundlingly fast dexterity and fluidity made it seem as if he was channeling higher powers through his nimble fingers.  Often dressed in a long satin cape, Rick dazzled audiences with 70’s-era Yes classics such as “Roundabout”, “Long Distance Runaround”, “I’ve Seen All Good People” and long-form pieces such as the title track from the “Close to the Edge” album.

In addition to Yes, Rick has had an extensive career as a solo artist, often releasing albums that have famous historical figures (“The Six Wives of Henry VIII”) or renowned works of literature (“Journey to the Centre of the Earth”) as their inspiration.

2011 finds Rick on tour with his former Yes-mate, vocalist Jon Anderson, supporting their recent collaboration “The Living Tree”.  We were fortunate to be able to catch up with Rick and discuss the tour with Jon, his feelings about how technology has affected his work and one particular Yes album that brings tears to his eyes.

Dave Picton:  Your recent collaboration with Jon Anderson, “The Living Tree”, is – much to my surprise – simply that: you on keyboards and Jon on vocals.  Was this minimalist approach there from the beginning of the project or, at any time, was a more augmented version contemplated?
Rick Wakeman:  No, that was always the plan.  About six years ago, Jon and I were talking about how there was very little new material around because you have to get together with people and people are very much scattered all over the world these days.  So Jon and I wondered if this magical thing called the Internet is so wonderful, maybe we could send each other music and do something that way.  So Jon said: “Send me some stuff and let’s see what happens.”  So I sent him some music and he came back and said: “I like that bit, or I think I can work on that bit.”  So we just kept flying stuff back and forth.  Then, when we did the first duo acoustic tour together a few years ago, we tried out four of these songs and we were amazed at the really good response we got.  That’s when we knew we were on to something.  We kept sending things back and forth, but we only kept the good stuff, so by the time it came to putting the tracks we wanted on the CD, we were both 100% happy with everything that we’d done.  And I think that shows.  And the response we’ve received from the CD has been just amazing.

DP:  You’ll be joining Jon on a number of tour dates later this year. What can audiences expect to see and hear?
RW:  This, that and a lot of things.  The truth is, Jon and I are very similar people.  We don’t like to stand still, we don’t do what comes easily, and we don’t live in the past.  We also hate managers.  Too many bands today seem to work for the management.  When we bring management in to do things for us, they work for us – not the other way round.  So we’ll do this tour the way we want it to be – new songs, past songs, re-interpretations and interacting with the audience – which, it just so happens, is how we believe the way our fans want it to be.

DP:  Yes’ “Union” tour in the early ‘90s featured many members of the “classic” ‘70s era of Yes – of which you were a part – as well as members of the ‘80s 90125-era band all on one stage. How was that experience on your end?
RW:  Well, it really all began in January of 1980. The band was an absolute shambles at that point, nobody was talking to anybody and everyone was fighting.  The whole thing was just a disaster.  Jon and I’d had enough and so we both left.  But the rest of them carried on.  The Buggles were added and they did the “Drama” album. Then at the end of the ’80s, Anderson Bruford, Wakeman & Howe was formed and now we had a real mess because ABWH was playing all the Yes stuff that we’d written, and what people came to call “Yes West,” which was basically Chris [Squire] and Alan [White] and Trevor [Rabin] and Tony [Kaye] were also doing stuff.  So, the two managements came up with the idea to join forces.  Now, I have to say, for the stage show, was fantastic, but the album was just awful.  I don’t even classify it as a Yes album, the “Union” album.  I always call it “Onion” because every time I hear it, it makes me cry.  It was an absolute pile of junk.

DP:  In your career as a solo artist, you’ve made many albums that have historical figures or classic novels as their inspiration (e.g. “The Six Wives of Henry VIII”, “Journey to the Centre of the Earth” and “Myths & Legends of King Arthur & the Knights of the Round Table” – just to name a few).  Are there any projects like this slated for the future?
RW:  Well, I have plenty in mind.  For instance, I’d like to do a full-scale ballet someday.  I’ve had some stuff used in ballet in the past, but I think a whole, new full-scale ballet would be fantastic.  Ballet’s a really interesting area.  I go to Milan a lot, to the Scala.  I’m friends with the director there and also in Florence.  Both are continually getting more adventurous with their music.  So I think there is an opportunity to bring progressive rock music to a new audience.  The trouble is, I know what it would cost to do something big and dramatic and these days, no one wants to back anything.  And frankly, a ballet soundtrack probably wouldn’t be much of a winner in the market today.  But, you never know.

DP:  The 5-CD set “Caped Crusader Collectors Club: Bootleg Box – Volume 1″ was recently made available here for sale in the States.  What was the inspiration to release these recordings and how much material do you plan on releasing in the future?
RW:  We just wanted to come out with a nice collection of back-to-basics live performances.  Obviously, something recorded live sounds different from something recorded in the studio, so we wanted to put something out there that was the other side of the coin, so to speak.  As for the future, who knows?  I like to think that the best parts of the past and the best parts of the present will add up to a very positive future.  If that holds true, then lots of good stuff should be on the way.

DP: Which artists’ music do you currently find appealing and perhaps even inspirational?
RW:  That’s a bit difficult to answer at the moment, other than the obvious choices.  But going into the past a little bit, I can tell you that David Bowie is far and away the cleverest man I’ve ever worked with.  He was just so far ahead of the game.  He wasn’t into listening to managers and record company executives because they weren’t musicians, so they didn’t really know what it was like.  And that was a wonderful attitude.  He was also always incredibly prepared in the studio.  He never wrote in the studio.  He was always what he called “75 percent prepared.”  He’d get the piece that far, and then go to the studio and take it that extra 25 percent.  He respected the studio, and I think that’s the one thing he taught me more than anything else: respect the studio.  It’s not a plaything.  He was an absolute pleasure to work with him.  Amazing character.  Amazing man.

DP:  In a few short decades keyboard technology has gone from fully acoustic and mechanical to fully computerized and you’ve been at the front line of that wave for your whole career.  How have these changes affected your work?
RW:  I don’t consider myself a technician.  Don’t get me wrong.  I like all the technical things I use.  But as far as the engineering side, I’m lucky to have a friend, Larry Jordan, who is a very talented guy.  Electronics, recording, whatever – he knows it all.  When some new technology comes along, he’ll come to the studio and tell me: “We can do this now.”  And it always something that sounds fantastic.  And then he’ll ask: “Do you want to know how it works?”  And I always say, “No.”  You can fall into the trap of making use of something just because it’s there and available and not because it necessarily adds to what you are trying to do. So I don’t need to know the technical things. If we’ve got it, maybe I’ll use it or maybe not.  But, at the end of the day, I just want to play.

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Mark Tremonti is the guitarist for Alter Bridge as well as for the Multi-Platinum selling band Creed. Media Mikes had a chance to talk with Mark recently about both of his bands as well as his upcoming solo project release.

Adam Lawton: What’s has it been like touring with the Carnival of Madness tour?
Mark Tremonti: We are three weeks deep into the tour which has five bands on it and it’s been great. Alter Bridge generally plays an hour a night and it’s been a cake walk. Everyone out with us are good people and all help to put on a good rock and roll show!

AL: How did you guys get involved with being on the tour this year?
MT: We had been approached to do the tour last year. We thought it would be a good time and got all the details worked out with everyone and here we are.

AL: Do you have a favorite song the band is playing in the set and why?
MT: “Blackbird”. I think it’s all of ours favorite song that we have ever done. Most of the songs in the set are very loud and high energy. That song is a dynamic change from the rest of the set. It makes us all watch and listen to the crowd.

AL: Do you have a favorite moment from the tour so far?
MT: I think the most fun we have had so far is the show we did at the Kentucky Fair. It was good to just walk around and win all sorts of prizes for my kids and then the show was just real rowdy and fun.

AL: What do you like most about playing live every night?
MT: It’s what we are and it’s something we have been doing for a long time. It’s your release everyday and it’s what all the practice is for.

AL: What was your reaction to receiving the nomination for album of the year from Classic Rock Magazine?
MT: We were really excited. Classic Rock is such a classy magazine and we really respect their opinion. It’s a very big honor for us.

AL: What’s it like balancing both Creed and Alter Bridge?
MT: I am juggling 3 groups right now actually. I do a lot of planning ahead. 2012 is going to be dedicated to mostly Creed stuff. I also will be releasing a solo album as well. Miles will be going out with Slash and we all will meet up for a few months here and there for Alter Bridge touring. I know we will be going to Australia next year and doing some writing for Alter Bridge as well but the majority of 2012 will be Creed stuff.

AL: Have the comparisons between your two groups finally stopped?
MT: I think since the last record people really stopped the comparisons. With the newest record it has been a real non-point. We are pretty much our own band now and I think a new wave of fans are seeing the band for what it is and don’t compare the two as much anymore.

AL: What is the hardest part about writing material for both bands?
MT: I think you are always pushing to do your best. It’s hard to just switch hats and be the best at different sounds. I don’t want to over complicate a Creed song and make it sound like Alter Bridge.  This band is a little more progressive than Creed, so when I am writing for Creed I have to focus strictly on the melody and finger style stuff. It’s hard to sometimes not really dig in.

AL: What else project wise is coming up for you?
MT: I will be putting my solo record out early next year and then probably we will have a new Creed record out the middle of next year around February.

AL: What can we expect from the solo album?
MT: It’s a little heavier than both bands and I sing on the entire album. It’s a different thing that’s fun and heavy but still melody based. I have been a song writer for most of my life and I think I have finally gotten to a point in my life where I want to get all these ideas down on tape that don’t make the other bands records. It’s more streamlined when you can translate the ideas straight from your mind to tape.

AL: Will you be touring at all on your own?
MT: It just depends on how it turns out. If there is a demand for it then yes.

AL: Will it be put out by Wind Up Records?
MT: No it is completely independent. We are going to put it out on Fred 12 and you will be able to go to fred12.com and download the songs. The idea is to use our grassroots fan base to promote the band and hopefully they will come and spread the word.

Dean Back is the bassist for Theory of a Deadman. They are currently headlining in this year’s Carnival of Madness tour. Media Mikes had a chance to chat with Dean before their performance to talk about the band’s latest release and what he likes about being on the road.

Adam Lawton: Can you tell us about the band’s latest album “The Truth Is”?
Dean Back: “The Truth Is” builds off our last album “Scars and Souvenirs” which was an album that took us to that next level and by far has been our most successful record. We wanted to build off that and continue to use some of that humor found on that last album. Tyler has really started to show his lighter side as early on in our career we thought we had to be this serious rock band but we found it’s a lot more fun being funny and just having fun. Songs like “Low Life” and “Bitch Came Back” which are very tongue and cheek songs go over great with the crowd and they seem to have a lot of fun when they hear us play those songs.

AL: Do you have a favorite track off this album?
DB: I think “Gentleman” is one of my favorites. We actually have added that to our live set. I also enjoy “Hurricane” which turned out really well as did “We Were Men”.

AL: You guys have been away from the road for quite some time. Can you tell us about that decision?
DB: We had toured on the last album for 2 years, so it was time to go home and for me to reconnect with my family. We also used that time to kind of prep for the next record. I think it’s good to disappear for a little bit. We had been on the radio for 2 years straight. People were probably a little sick of us. Taking that time allowed us to work on the songs and put out a really strong record.

AL: How did you guys get involved with writing a song for the film “Transformers: Dark of the Moon”?
DB: They asked us to be on the record and if we had any material we could contribute. Any time we can get in front of another audience it’s a great opportunity to spread our fan base. In the past we have done video games as well as WWE events and soundtracks. We did some touring in Europe where we weren’t getting a lot of radio play but we had fans coming up to us telling us that the reason they came out was because they heard us on a video game. It was really awesome. Every time we can spread the music to different genres it’s good for us.

AL: How has it been touring with Carnival of Madness line up this year which includes Alter Bridge?
DB: It has been awesome. We have had past relationships with some of the other bands on the tour, however this was our first time going out with Alter Bridge. We are having a blast the whole crew and everyone are great. It’s like one big family out here. Alter Bridge along with Black Stone Cherry are going to be taking us over to Europe in November for a big arena tour.

AL: Is there a favorite song in the set that you guys are playing each night?
DB: “Hate My Life” is a fun one to play and sing along to. The crowd really gets into it.

AL: Any great tour moments you can share with us?
DB: We had a day off in Chicago, which was really cool. Chicago is a great town. We got to go to the White Sox game which was pretty cool but, every show has been a highlight and having a good time playing live.

AL: Other than the European tour are there any other upcoming plans for the band?
DB: We are going out with 3 Doors Down starting the end of September and running through all of October. We have a great relationship with those guys and it’s been a while since we have toured together.

Date: Friday, September 9^th 2011
Venue: Tag’s Summer Stage, Big Flats, NY

Our Score: 3 out of 5 stars

Click here to check out our interview with Alter Bridge’s Mark Tremonti

Click here to check out our interview with Theory of a Deadman’s Dean Back

The 2011 Carnival of Madness tour featuring Emphatic, Adelitas Way, Black Stone Cherry, Alter he small town of Bridge and Theory of a Deadman made its way into Tag’s Summer Stage located in tBig Flat’s, NY on September 9^th. The tour now in its second year has previously featured bands such as Chevelle, Sevendust and Shinedown. This year the tour is co-headlined by hard rock heavy weights Theory of a Deadman who in July of this year released their 4^th studio album titled “The Truth Is” and Alter Bridge a band that features 3 of the 4 members of multi-platinum selling band Creed.

Upon hearing the line up for this year’s Carnival of Madness tour I was pleasantly surprised to hear that Black Stone Cherry would be making the rounds. After seeing them open for Zakk Wyldes Black Label Society a few years back I was anxious to hear them again. Sadly this did not end up being the case. During sound check the tour crew was notified that Black Stone Cherry would not be able to make the show due to portions of their route being still flooded by the devastating storm the NY/PA area was hit by just days before. At the time this still left the other 4 bands to go on as scheduled….so I thought. Upon returning to the venue for the show the gate was posted with signs stating Emphatic would also not being playing the show. Then to add insult to injury it was announced by the promoter that Adelitas Way also was not able to play. Within the course of 2 hrs. a 5 band line-up was reduced to just its co-headliners and needless to say things were looking pretty grim. However I would like to personally say that both Alter Bridge and Theory of a Deadman stepped up to the plate and hit clutch homeruns which quickly won over the ill tempered crowd. After it was announced that both bands would play extended sets to make up for the other bands being stranded Alter Bridge took to the stage and played a relentless hard rocking set which featured killer dueling guitar solos from front man Miles Kennedy and lead guitarist Mark Tremonti. To close out the night Theory of a Deadman played a hit filled set featuring songs such as “I Hate My Life”, “Low Life” and “Bad Girlfriend”.

Even though the nights show was plagued by transportation issues. Theory of a Deadman and Alter Bridge brought their A games. Though some fans were upset over not being able to see the entire tour lineup I feel TOAD and Alter Bridge made up for it and left fans with very little to regret about sticking around for just two bands.

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Lance Warlock is part of the composing duo of Lance and Bradford Music.  Lance is also the son of Dick Warlock, well known stuntman and Michael Myers from “Halloween II”.  Media Mikes had a chance to chat with Lance about his film work on ‘Halloween II” with his dad as well has his upcoming scores like “ChromeSkull: Laid to Rest 2”.

MG: How did you meet up with Leon Bradford to form Lance and Bradford Music?
LW: We have known each other for years. We used to play in different bands. I was drums; he was keyboards. Then he opened up his own recording studio and used to hire me to do all the drum tracks for various artists. He is a fantastic musician and has a great ear for details.

MG: What is your approach when you start composing a film?
LW: We have had different approaches depending on the project. Sometimes it depends on what the director/producer is looking for from us. For example, they might say,”Do whatever you feel.” Sometimes there are more restrictions to a certain style. Our main goal is to come up with a basic concept in tones, style and textures. It’s common for us to score a scene and pass it off to the powers to be and wait for thoughts. That way we don’t get too far ahead without knowing we are on the right track.

MG: How much freedom do you have with a director when working on a score?
LW: We have found so far that there is plenty. They are always positive in indicating that we are the musicians and this is what we do. Again it depends from project to project, but our goal at the end of a film is to have the director/producer very pleased with everything we have done, and hopefully we will get the call for their next project!

MG: Were you always planning on having a walk-on role in “Halloween II” or did it just happen?
LW: I flat out got lucky! I was with my dad that summer of 1981 and they called him in for 3 additional days of re-shooting that John Carpenter was coming in to direct. I always remembered it was to tie up some loose ends with the story. The night of the boombox scene, John did not have anyone in mind for the part. My dad and I were in the trailer practicing the scene for fun when John came in. Dad asked him who was going to be the kid and he said he had no idea. Dad asked what about Lance and John said great! I was a happy camper! All I know is in the end I didn’t end up on the cutting room floor.
I made it even to the TV version. Makes me laugh every year I happen to see it.

MG: Growing up were you able to visit the film sets that your father, Dick Warlock, worked on? If so what was the coolest?
LW: I remember as a very young kid being on many sets. At that time it was mostly Disney films when my dad was doubling a very young Kurt Russell. I remember him dressed up doubling a tiger. I remember him driving Herbie the Love Bug when nobody was in the car. I remember hanging out with Bear from BJ and the Bear while dad was driving a car around a race track. But I would have to think one of the coolest things was going to the tank where they filmed his cage scene from Jaws. Bruce (the shark)was hanging outside of the tank on a lift bigger than all get out. I was able to take a tooth of his for a souvenir. I still have it.

MG: Your father has been a stunt man since the 60’s, you did stunts in “Halloween III” & “Fletch”, what happened after that?
LW: I think I just had a bigger passion for music. Music had always been a big part in my life but as I got older, it got bigger. I still love visiting movie sets and the environment that they have, but were never sure what I wanted to do in films. Except write music!

MG: Any fun/crazy stories from working on the “Halloween” films?
LW: The one thing I would say was the most obvious was everybody working on those sets loved what they did. All the crew members were awesome! They were professional and had fun at the same time. There are some people from those films that have gone on to work on some pretty big films. It is pretty cool to have had the chance to work with John Carpenter.

MG: How was it working with Dante Tomaselli’s on the film “The Ocean”?
LW: Dante is great. He contacted me and asked if I would be interested in writing some music for The Ocean. So I did. Not only does he compose music for his films, but he has a few guys write additional music as well. I was lucky enough to be one of those guys. The bummer is he never ended up making the film. Seems weird to some that he had the music written first, but I remember he said he likes to work that way. Maybe sometime in the future it will happen. It would be great to work with him again!

MG: Tell us about composing the film “ChromeSkull: Laid to Rest 2”?
LW: I remember the first time I saw the film. I text the director Robert Hall and told him that he was one twisted guy! He wrote back and said thanks! We knew we were in for it from then on. Robert really knew what he wanted as much as he knew what he didn’t want. That made that part of it easy. We really worked our asses off to get it just right. The experience was a total blast. Robert was great to work with and we hope to work on more with him.

MG: Was it difficult working on “Monsterpiece Theatre Volume 1” since it has different segments?
LW: I didn’t think so because each segment could stand on its own. Each segment has its own feel and tone to it, so in a way it was easier to think differently for each one. Those were all fun because again, it was like 4 different short films, so before you knew it, you were done and could move on to the next one.

MG: What other projects do you have planned upcoming?
LW: There are a few things in the works as of now. We try to stay as busy as possible. We really want to create great music and long lasting relationships with the people we work for so we can stay busy for a long time to come! We have just finished updating our website to include new trailers and some of our latest music tracks: www.lanceandleonmusic.com. We are not always looking for the biggest projects, but they have to have substance and passion behind them. To anyone interested, contact us any time regarding your project if you feel we may be a good fit.

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Knight Area
“Nine Paths”
The Lasers Edge
Producer: Neil Kernon
Tracks: 9

Our Score: 3 out of 5 stars

“Nine Paths” is the 4^th release from the Dutch band Knight Area. The album was produced by well known producer Neil Kernon (Cannibal Corpse, Queensryche). Knights Area is a 5 member group lead by Mark Smit on vocals, Gerben Klazinga- keyboards, Pieter van Hoorn- drums, Gijs Koopman on bass and Taurus pedals and Mark Vermeule on guitars. Together the band creates a interesting blend of progressive rock.

“Nine Paths” is a blistering assault on the musical senses as the album covers a variety of sounds that all may not be heard without multiple listenings. The album was one part Dream Theater and one part Europe. Mark Smit has a very melodic sounding voice that lends itself very well alongside the key work Gerben Klazinga on tracks such as “The River”.While songs like “Pride and Joy” feature the fantastic bass and guitar grooves of Gijs Koopman and Mark Vermeule. Though the album is a progressive rock album there was a very jazz/easy listening element to the album which I thought was an interesting approach.

Though “Nine Paths” might not be heavy enough for some progressive rock fans it is a fairly easy listen for those just venturing into the genre. Each track on the album was very rich and showcased each members proficiency at their instruments

Track Listing:

1.)    Ever Since You Killed Me
2.)    Summerland
3.)    Please Come Home
4.)    Clueless
5.)    The River
6.)    Pride and Joy
7.)    The Balance
8.)    Wakerun
9.)    Angel’s Call

Anubis Gate
“Anubis Gate”
Nightmare Records
Producers: Kim Olesen and Jacob Hansen
Tracks: 10

Our Score: 2 out of 5 stars

“Anubis Gate” produced by band members Kim Olesen and Jacob Hansen is Anubis Gate’s 3^rd full length album and is the follow up to the bands 2009 release titled “The Detached”. This is the bands first release on Nightmare Records and the album features a blend of synth infused progressive metal similar to that of King Crimson or Savatage.

When I have the chance to listen to a new band for the first time I try to be as open and non-judgmental as possible. I really do applaud every musician that has the courage to get out there and make music. Anubis Gate’s self titled album did provide me with one or two high points. The guitars on the album all have a very good recorded tone and despite being in my opinion over layered they still stood out on their own. As a whole I was not a fan of the album but as I always say these are my opinions and mine only. If you are a fan of Anubis Gate and have been waiting since 2009 for this album I am sure it will fill all your Anubis Gate needs. The album to me just felt dated and lacked drive.

I found it very hard to connect with the album or a find a sense of unity amongst the tracks. The instrumentation was nothing out of the ordinary and at times was too over produced and layered. The vocals I felt had a touch to much echo making the album sound like I was listening to it in a cave or echo chamber.

Track Listing:

1.)    Hold Back Tomorrow

2.)    The Re-Formation Show

3.)    Facing Dawn

4.)    World in a Dome

5.)    Desiderio Omnibus

6.)    Oh My Precious Life

7.)    Golden Days

8.)    Telltale Eyes

9.)    River

10.)  Circumstanced

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Arch/Matheos
“Sympathetic Resonance”
Metal Blade
Producer: Neil Kernon
Tracks: 6

Our Score: 3.5 out of 5 stars

“Sympathetic Resonance” is the first combined effort of current Fates Warning member Jim Matheos and former member John Arch. The two along with Joey Vera on bass, Bobby Jarzombek- drums and additional vocalist Frank Aresti make up what is known as Arch/Matheos. The band is a full on classic progressive metal band and “Sympathetic Resonance” does everything in its power to prove that.

Right off the bat I will say that progressive rock/metal is not really my first choice when it come to listening to music however “Sympathetic Resonance” has done a good job at opening my eyes. The song “Stained Glass Sky” has guitar tone for days while songs like “Midnight Serenade” feature a more melodic landscape leading into the full on face melting power of “Any Given Day (Strangers Like Me)” which does a great job showing the bands tightness as a whole. This track was probably my favorite off the album as well

Even though “Sympathetic Resonance” only features 6 songs. Arch/Matheos left nothing on the table and packed ever song on this album with pure metal progression. Definitely give this album a listen as it has a little something for everyone.

Track Listing:
1.)    Neurotically Wired
2.)    Midnight Serenade
3.)    Stained Glass
4.)    On the Fence
5.)    Any Given Day (Strangers Like Me)
6.)    Incense and Myrrh