- BRIAN WILSON with CHICAGO
- Starlight Theater – Kansas City, Missouri
- June 20, 2022
New Album, Hell Unleashed, out April 30, 2021 via Napalm Records
Watch the New Music Video for “Gore” HERE
EVILE are back – straight from the abyss!
April 30, 2021 will see British thrash titans EVILE release their brand new studio album, entitled Hell Unleashed, via Napalm Records – the band’s first album in eight long years! Since their formation in 2004, EVILE have been turning heads and taking names, delivering four pure thrash offerings blended with an uncompromising death metal assault. Hell Unleashed, the long-awaited successor to their 2013 release Skull, will make no exception – but this time, the album features a new exciting line-up formation of Ol Drake on vocals/guitars and new member Adam Smith of RipTide as rhythm guitarist.
Following the recent release of the blistering album title track from Hell Unleashed, today, the band has released their second single – the sharp and hard-hitting new track “Gore”! With these raging riffs full of anger, EVILE reach another dimension of pure evil, featuring the impressive backing vocals of American actor, comedian and musician Brian Posehn!
Watch/listen to the new single “Gore” HERE:
EVILE vocalist/guitarist Ol Drake comments:
“Here it is! The second new EVILE single from the upcoming album Hell Unleashed. This is a song about a topic that no other metal band has ever covered before; a serial killer. This song harkens back more to the first EVILE album; it could easily be a track from our beginnings. It’s heavy, it’s fast, it has some great changes, and it will punch you in the face sonically. The overall message of this song/video is that these horrible individuals are hidden in plain sight. They could be our friends, family, or colleagues.
We’re also excited to welcome back the extremely hilarious and extremely metal comedian Brian Posehn. He was kind enough to provide us with some backing vocals in the chorus. Luckily, we only needed the one-word shouting, so we got a great collection of Posehn ‘Gore’s to sift through. Thank you, Brian!
Turn it up LOUD, and enjoy ‘GORE’!“
One can be sure, Hell Unleashed is a raucous and masterful thrash metal attack! In just 41 minutes, the album unchains the unbridled forces of hell, catches some rousing demons of the past, and provides classical thrash metal with a contemporary yet hard-edged touch. The newly staffed four-piece strikes again on nine explosive tracks, leaving nothing but a hammering world of sound taken apart by thrash. Endangering guitar lines, which quickly build up to a furious thrash manifesto and attack the eardrum at breakneck speed, meet the merciless velocity EVILE are known and loved for.
Hell Unleashed was produced by Chris Clancy at Backstage Studios, UK, and will not only feature explosive guest backing vocals from Brian Posehn, but also include a cover song:
Ol Drake adds:
“This is the first album EVILE have done to include a cover song in the tracklisting. I’ve been a big fan of death metal for a long time, and seeing as this album is on the more extreme side of thrash vocally and musically, we thought it was a perfect opportunity to cover Mortician‘s ‘Zombie Apocalypse’. It has one of the greatest riffs in it!
We’re also very excited about the return of the legendary Michael Whelan (Sepultura, Obituary, Stephen King) as cover artist. He did the art for our second album and he’s always a pleasure to work with.”
Pre-Order Hell Unleashed NOW:
2. Gore ( feat. Brian Posehn )
4. War of Attrition
6. The Thing (1982)
7. Zombie Apocalypse
8. Control from Above
9. Hell Unleashed
In North America, Hell Unleashed will be available in LP format in black vinyl, as well as in limited edition red vinyl (limited to 200), CD Jewel Case and digital formats.
|Limited Edition Red LP – limited to 200|
|In just 41 minutes, Hell Unleashed unchains the unbridled forces of hell, catches some rousing demons of the past and provides classical thrash metal with a contemporary yet hard-edged touch. EVILE are back – straight from the abyss! |
OL Drake – Vocals & Lead Guitar
Ben Carter – Drums
Joel Graham – Bass
Adam Smith – Rhythm Guitar
REVIEW AND PHOTOS BY DAN LYBARGER
Muriel Kauffman Theater – Kansas City, MO
November 13, 2018
At 76, Brian Wilson could still make a crowded auditorium happy, even if he didn’t appear to be doing anything at all.
Having co-written and arranged dozens of hits for The Beach Boys and on his own, Wilson can get away with outsourcing songs he originated to other vocalists. He sat behind a baby grand piano as if he were an audience member instead of the star of the show.
Criticizing Wilson for being odd is like chastising the Beatles for being English. It’s essential to his greatness, even if it can be disconcerting to watch. The distinctive harmonies in the songs he recorded with the Beach Boys are the result of defying convention. The fact that Wilson is deaf in one ear only makes his accomplishments seem even more formidable.
It’s also worth noting that many Beach Boy songs like “California Girls” and “Wouldn’t It Be Nice” sound better in live performances now than they would have when the band and the session players from the Wrecking Crew recorded them over 50 years ago. The amplification to do those songs justice wasn’t around back then, and Wilson’s current band consistently performed them with both fidelity and spirit.
The 11-piece ensemble behind Wilson juggled instruments and skillfully mimicked the harmonies Wilson originally created with his late brothers Dennis and Carl and cousin Mike Love. Fellow Beach Boy founder Al Jardine wound up taking most of the vocal chores that evening and seemed happier with ingratiating himself and the band with the crowd than Wilson did. Then again, Wilson seemed to have had the crowd’s attention by simply uttering “Hello, Kansas City” at the start of the show.
Unlike musicians from the past who might have needed too much chemical help to get on stage, Wilson can at least still read a map.
He and the band found a great venue. The Muriel Kauffman Theatre normally hosts classical performances, but Leonard Bernstein praised Wilson’s distinctive compositions as being worthy of the old masters, so they certainly belonged on that stage.
If Wilson seemed only fitfully engaged, the rest of the band were eager to give the songs he had popularized justice. Jardine can still plaintively beg Rhonda to help him forget his ex and can fill in for passages that Carl or Wilson’s cousin and lyricist Mike Love used to sing.
Wilson’s son-in-law Rob Bonfiglio ably delivers the falsetto portions of the songs that his father-in-law used to sing, and the other instrumentalists in the ensemble change instruments more frequently than most of us change our clothes.
For “Good Vibrations,” the band even incorporated a delightfully eerie Theremin and played acoustic marimbas instead of keyboard samples. Darian Sahanaja, who helped Wilson resurrect long lost Beach Boys album Smile, played keyboards and figured out how to make studio trickery work live.
The set also received a shot of adrenaline when South African singer-guitarist Blondie Chaplin hit the stage halfway through the set. A member of the 1970s incarnation of The Beach Boys, Chaplin tore through “Free Flows,” “Wild Honey” and “Sail On, Sailor,” stopping only to deliver some scorching guitar solos. Chaplin would return to harmonize on later songs, but he left the crowd craving more.
Wilson and Al Jardine
Wilson seemed content to simply let Chaplin, Jardine and Bonfiglio do the heavy lifting. He still managed to deliver moving renditions of “God Only Knows” and his solo tune “Love & Mercy.” If you had written those haunting melodies, maybe you could afford to take it easy during the rest of the set.
Opening band Beat Root Revival offered self-deprecating quips about opening for a titan like Wilson, but delivered a brief energetic set that featured solid covers and some touching originals. Englishman Ben Jones is a remarkably nimble guitarist, while Irish vocalist Andrea Magee provided most of the percussion and found new uses for a pennywhistle in her reinterpretation of Stevie Nicks’ “Dreams.” Her original tune “Forever” may have originated with her parents arguing about a piece of cheese, but it’s catchy and delightful even if you don’t know its origin.
Set List (Courtesy of Setlist.fm)
Dance, Dance, Dance
I Get Around
Little Deuce Coupe
Salt Lake City
Wake the World
Add Some Music to Your Day
California Saga: California
Don’t Worry Baby
Sail On, Sailor
Do It Again
Wouldn’t It Be Nice
Sloop John B
God Only Knows
All Summer Long
Help Me, Rhonda
Fun, Fun, Fun
Love and Mercy
“Forever Nerdy: Living My Dorky Dreams and Staying Metal”
Author: Brian Posehn
Hardcover: 304 pages
Our Score: 4 out of 5 stars
Brian Posehn is a successful and instantly recognizable comedian, actor, and writer. He also happens to be a giant nerd. That’s partly because he’s been obsessed with such things as Dungeons & Dragons, comic books, and heavy metal since he was a child; the other part is because he fills out every bit of his 6’7” frame. Brian’s always felt awkward and like a perpetual outsider, but he found his way through the difficulties of growing up by escaping into the worlds of Star Wars, D&D, and comics, and by rocking his face off. “Forever Nerdy” is a celebration of growing up nerdy and different. Being a nerd hasn’t always been easy, but somehow this self-hating nerd who suffered from depression was able to land his dream job, get the girl, and learn to fit in. Kind of.
Those familiar with Brian’s long standing comedic work will surely know what they are getting into even before reading page 1. “Forever Nerdy: Living My Dorky Dreams and Staying Metal” is a fun read chalked full of awkward yet at times relatable experiences of a kid/adult trying to find their place in life. From losing his father at a young age to feeling like an outcast at school Brian tells his story through black horned rim glasses recounting various pivotal moments in his life with his signature dry/slow paced delivery which had me cracking up time and time again. From stories of his mom taking him to see “Jaws” and “Star Wars” to his love of Kiss and comic books Posehn shares these memories in detail making you feel like you too were there. Even with darker subject matter from his childhood Brian’s wit shines though making want to keep reading page after page.
Posehn was a nerd before it was cool and “Forever Nerdy: Living My Dorky Dreams and Staying Metal” is total proof and its nothing to be ashamed of. Chapter after chapter the author keeps you laughing with ho-hum accounts of his life and career and whether you are a fan of his comedy or share a similar taste in pop culture and music this book is for you and/or would make the perfect gift for a loved one this holidays season.
— Tickets for both shows go on sale Friday, March 2, 2018 —
ORLANDO, Fla. (February 26, 2018) — Dr. Phillips Center for the Performing Arts and OUC – The Reliable One announced today that actress, author and neuroscientist Mayim Bialik will kick off the second year of the popular speaker series, “OUC Speakers at Dr. Phillips Center.”
Best known for her critically acclaimed role as Amy Farrah Fowler on CBS’ The Big Bang Theory, Bialik will explore seemingly dissimilar — yet altogether entertaining — topics such as the work of the brain and behavioral development; her life as an actress and scientist; and the special relationship that exists between The Big Bang Theory and its audience. Her speaking engagement will take place Saturday, April 14 in the Walt Disney Theater.
Tickets for “An Evening with Mayim Bialik” presented by the Dr. Phillips Center in association with UCF Celebrates the Arts start at $35; a limited number of tickets will also be available for $200 for a meet and greet with the actress. Tickets go on sale at 10 a.m. Friday, March 2.
“The OUC Speakers at Dr. Phillips Center platform allows us to make meaningful connections with our customers and our community,” said Roseann Harrington, Vice President of Marketing, Communications & Community Relations of OUC – The Reliable One. “And the series is steeped in both education and innovation — two things we’re passionate about. We’re very pleased to be part of the program for a second year.”
“It’s rewarding to renew our relationship with OUC and collaborate together on the speakers series,” said Kathy Ramsberger, president and CEO of the Dr. Phillips Center. “The popularity of the format is really evolving, as more guests — especially Millennials — look for alternative entertainment options.”
Tickets may be purchased online at drphillipscenter.org, by calling 844.513.2014 or by visiting the Dr. Phillips Center Box Office at 445 S. Magnolia Avenue between 10 a.m. and 4 p.m. Monday through Friday, or 12 p.m. and 4 p.m. Saturday. Online and phone ticket purchases are subject to handling fees.
OUC is part of a growing list of arts center business partners, including Florida Hospital, Fairwinds Credit Union and Morgan Stanley. Businesses interested in learning more about sponsorship opportunities should email firstname.lastname@example.org or call 407.992.1746.
About the Speakers
Mayim Bialik currently stars on the hit CBS comedy, The Big Bang Theory as ‘Amy Farrah Fowler,’ for which she has received two Critics Choice Awards, four Emmy Award nominations and seven SAG Award nominations. From playing the young version of Bette Midler’s character in Beaches to guest spots on series such as Webster, Murphy Brown, and Curb Your Enthusiasm, in addition to her turn as ‘Blossom Russo’ in the iconic 90’s sitcom Blossom, Bialik has appeared in numerous beloved roles throughout her dynamic acting career.
An acclaimed author, Bialik has written #1 New York Times bestseller Girling Up: How to be Strong, Smart, and Spectacular, as well as Beyond the Sling, Mayim’s Vegan Table and the soon-to-be released, Boying Up: How to Be Brave, Bold and Brilliant. Bialik has recently dedicated her skills as a writer, actress, neuroscientist and mother to driving GrokNation.com, the website she started in 2015.
Following the end of Blossom, Bialik left acting for a time and earned her BS in Neuroscience from UCLA in 2000, with a minor in Hebrew & Jewish Studies. She went on to complete her PhD in Neuroscience, also at UCLA, and then completed her doctorate in the fall of 2007, which examined the role of oxytocin and vasopressin in Obsessive-Compulsive Disorder in adolescents with Prader-Willi syndrome. While at UCLA, Bialik was a dedicated student leader in UCLA Hillel, leading and starting a Women’s Rosh Chodesh group, chanting and blowing shofar for the High Holiday services, and conducting and writing music for UCLA’s Jewish acapella group.
In addition to acting and raising her two boys, Miles and Fred, Bialik serves as a spokeswoman for a multitude of brands and organizations including Texas Instruments, DeVry University, Capitol One, Fisher Price, City of Hope, Gillette, (among others) and speaks at events around the world.
Established in 1923 by a special act of the Florida Legislature, Orlando Utilities Commission is the second-largest municipal utility in Florida and 14th largest in the country. OUC provides electric, water, chilled water and/or lighting services to 375,000 customer accounts in Orlando, St. Cloud and parts of unincorporated Orange and Osceola counties.
About the Dr. Phillips Center for the Performing Arts
Dr. Phillips Center for the Performing Arts is a nonprofit 501(c)3 organization operating the state-of-the-art performing arts center in downtown Orlando, Florida. With its opening in November 2014, the performing arts center launched its vision of Arts for Every Life by being a gathering place for creativity and discovery; a vibrant urban destination where artists, audiences and students come to experience, explore and learn. The two-block community destination features the 2,700-seat Walt Disney Theater, 300-seat Alexis & Jim Pugh Theater, Seneff Arts Plaza, Dr. Phillips Center Florida Hospital School of the Arts, the DeVos Family Room, and other event rental spaces. Future expansion includes Steinmetz Hall, a 1,700-seat acoustical theater, along with rehearsal, classroom, office space and commercial development spaces. Dr. Phillips Center is a private non-profit collaborating with the City of Orlando, Orange County, the City of Winter Park, the State of Florida and generous donors.
Producer: Ted Hutt
Our Score: 3 out of 5 stars
Gaslight Anthem front man Brian Fallon is back with a brand new solo album titled “Sleepwalkers”. The twelve track album is being released via Island Records as was produced by Ted Hutt. As the follow up to Fallon’s 2016 solo debut “Painkillers”, “Sleepwalkers” continues on with the front mans raspy, old timey style long time fans have come to love.
Two parts Dylan and two parts Springsteen is how I like to best describe Brian Fallon’s music. “Sleepwalkers” fits that description perfectly as the albums twelve tracks blend the singer/songwriters love of folk and rock into one unique package. Much like Fallon’s previous works “Sleepwalkers” paints a lyrical picture of classic Americana elements as tracks like “Forget Me Not” and “Neptune” talk about lost love and missed opportunity while being sung against robust, upbeat instrumentation while, tracks like “Etta James” and “See You on the Other Side” feature a more scaled back folk like style which nicely showcases Fallon’s vocal style. Probably my favorite track off the album was the Clash esque “Come Wander with Me” which comes complete with a quasi reggae beat, a catchy chorus and, a line taken from the Clash’s song “Bank Robber” acting as the cherry on top of a proverbial music sundae.
“Sleepwalkers” might not be as strong of a release as its predecessor or when compared to some of Fallon’s previous other works however, the album certainly shows progression. As an artist Brian Fallon is not afraid to brave new ground or try things out of his comfort zone and his latest release is a testament to that. If you are looking for a nice mixture of poppy infused rock with classic folk elements then “Sleepwalkers” is the album for you.
1.) If Your Prayers Don’t Get to Heaven
2.) Forget Me Not
3.) Come Wander with Me
4.) Etta James
5.) Her Majesty’s Service
6.) Proof of Life
7.) Little Nightmares
9.) My Name Is the Night (Color Me Black)
12.) See You on the Other Side
Brian Bell is most notably known as the rhythm guitarist of the band Weezer, a group he has been a part of since 1993. Bell’s latest side project The Relationship released their debut self titled album in 2007 and are back with a new full length album titled “Clara Obscura” which will be released on April 18th. Media Mikes had the chance to speak with Brian recently about the group’s formation, the new album and their plans for touring.
Adam Lawton: Can you give us some background on how The Relationship first came together?
Brian Bell: It originally started out as a song writing partnership between Nate Shaw and me. That started basically right after high school when I first moved to Los Angeles to attend music school. I had actually already graduated and was working in the cafeteria during the time that hair metal was the big thing. Guitarists at this time were more into flash and speed as opposed to the emotion and where music has gone today where you do have a lot of soloing. My style of playing has always been more about the emotion and texture which is what drew me to alternative music at an early age. One day I am in the cafeteria wearing a Butthole Surfers shirt and this guy comes in wearing a Chameleons UK shirt. With us both being so different from the other people at the school we connected and started jamming. We wrote our first song immediately after that. At the time we didn’t know how to shop songs or anything like that but we did know how to start a band so that’s what we did. That’s when we came up with name The Relationship. It was something that can have a lot of meaning and was also something that I knew could stand the test of time throughout all the trends in music. It’s a powerful name. In 2007 both Nate and I were going through some big personal changes and we needed something to make sense of our lives at the time so that’s when the band really came together and those changes played a bit part in the writing of our first album.
AL: What can you tell us about the new album “Clara Obscura”?
BB: The title of the album is a play on words about a fictional character named Clara who maybe inspired these songs. The songs are actually a collection of many things and hypothetical/fictional situations. After we had all the songs done I was looking for a word or phrase that summed up the sound of the record. Listening back I felt there was a balance between dark and light both lyrically and modally. I started looking for words that meant what I was feeling. I kept coming across a lot of art themes so I put a few of those together and came up with “Clara Obscura” which basically means clear and obscure.
AL: Did the changes in the bands lineup impact the writing of the new record in any way?
BB: I don’t know how much it impacted the writing as I was the primary songwriter on both records but as far as the band I had more opportunities this time around. I used studio musicians for the first album and they were all great players but one thing I have noticed about studio players is that they are there for the day and not necessarily there after they leave. They aren’t like a traditional band member who might go home and continue to work on things such as nuances and textures. With this second record you get a lot more of that I have a dedicated line up now made up of Jon LaRue, Justin Goings and Brandon Graham. Nate had left the band prior to the recording on the new record so we didn’t use any of his material or performances.
AL: Do you notice any differences when you are writing for The Relationship as opposed to when you writing for Weezer?
BB: With Weezer I submit songs and ideas. I will generally record an acoustic guitar and vocal and that’s it. These days I try not to over demo as I think an iphone recording of just me playing and singing is enough to sell the song or idea. If Rivers or management is drawn to it then he runs it through what I like to call “the Rivers computer” or simply his brain. After, it comes out it’s in its own unique way. I am just happy to be involved at all in that process. If it’s for The Relationship I may expand a little more on things and give space for the other musicians to fill up.
AL: Are there plans to tour outside of what has already been announced?
BB: I would certainly like to tour more however I don’t think anything has been booked yet aside from what has been announced. My schedule is very full at the moment so it’s hard to think outside of the two month blocks I set for myself. I have these two dry erase calendars which are super helpful in making sure I know what is going on from day to day. In this business you have to be able to roll with the punches so if something comes up and we are available we will do it.
AL: What other projects are you currently working on?
BB: The Relationship is really the only one right now. Last year I took some classes at UCLA for orchestration and arranging which you get a taste of on this new record but I would love to some more of that. In sort of tying in with that film scoring is something that seems intriguing to me as of late and something I think I would enjoy doing.
For more information on The Relationship you can check out http://www.therelationshipband.com/
“I Am Brian Wilson”
Author: Brian Wilson w/ Ben Greenman
Da Capo Press
Hardcover: 307 pages
Our score: 4 out of 5 stars
In October Da Capo press released “I Am Brian Wilson” the in-depth story of Beach Boys co-founder Brian Wilson. Together with writer Ben Greenman the enigmatic Wilson documents the poetic lyricism, inspiration and creativity behind his vast discography while at the same time showing a man who is over-time coming to terms with his past.
After reading just one chapter of “I Am Brian Wilson” I wanted more. Over the course of the books 307 pages Wilson and Greenman delve deeper than anyone has ever been as they recount the life and times of one of music’s most reclusive figures. This book is simply not a tell-all as it relates to the Beach Boys. Though that might disappoint some readers for others it will be a breath of fresh air and shine the light on a number of areas related to Wilson and his music. The writer is extremely candid about all subjects ranging to his relationships with Beach Boy members past and present, the failed and subsequent revival of the album “SMiLE” and also about his long struggle with mental illness. No stone is left unturned as the man who penned such classics as “I Get Around”, Wouldn’t It Be Nice” and “Good Vibrations” talks about some of his biggest insecurities and how he has been able to battle his internal demons during several rough patches in an effort to be able to keep doing what he loves to do.
You aren’t going to find any other story like that of Brian Wilson’s. Very rarely if ever will you find a person with Brian’s notoriety be as truthful and forth coming as he is in this book. “I Am Brian Wilson” is an emotional roller coaster for both the story teller and the reader making this one ride that is definitely worth the price of admission.
Producer: Butch Walker Tracks: 12
Our Score: 4.5 out of 5 stars
The Gaslight Anthem front-man Brian Fallon steps into the solo spotlight with his debut release titled “Painkillers”. The album which is being released via Island Records features 12 brand new tracks from the Springsteen esk front-man which were produced by Butch Walker (Weezer, Fall Out Boy).
Brain Fallon’s first attempt as a solo artist comes off completely genuine and harkens back to the singer/songwriter era of the early 60’s but with a modern twist. Tracks such as the albums opener “A Wonderful Life” and the title track “Painkillers” are similar enough to Fallon’s previous work with his band The Gaslight Anthem that they will appeal not only to long time fans but also usher in a new fan base for the charismatic singer. Other tracks worth mentioning are the gravelly voiced “Smoke” with its jangly guitars and sing-a-long choruses to the upbeat “Rosemary” which is one of the few songs on the album to feature electric guitar and provides a nice break up mid way through the album which is almost entirely acoustic. Along with Fallon the album features some great performances by Brian’s backing band consisting of Mark Stepro-drums, Catherie Popper-bass, Alex Rosamilia-piano, Josh Keller-pedal steel guitar and Butch Walker who along with his producer duties lends his hand playing a variety of different odds and ends instruments.
When a debut solo album comes out and is as strong as one such as “Painkillers” it makes me wonder if the artist left any ground to cover for future albums. With the diversity shown by Fallon and company that question was quickly answered as the album runs the gambit of music styles which will certainly help pave the way for future releases from the seasoned front man.
1.) A Wonderful Life
3.) Among Other Foolish Things
5.) Steve McQueen
6.) Nobody Wins
8.) Red Lights
9.) Long Drives
10.) Honey Magnolia
11.) Mojo Hand
12.) Open All Night
Brian Kevin is a writer who contributes to magazines, websites travel guidebooks. He is also the associate editor at Down East magazine and the author of “The Footloose American: Following the Hunter S. Thompson Trail Across South America”. Media Mikes had the chance to chat with Brian about his journey through South America and how Hunter S. Thompson inspired it.
Mike Gencarelli: When did you first find the work of Hunter S. Thompson?
Brian Kevin: I came to Thompson via Terry Gilliam’s adaptation of Fear and Loathing in Las Vegas back in 1998, which I think is true of a lot of people my age (I’m 34). In the book, I describe the film as kind of a dorm room standard during the late ’90s, when I was a college student, and I’ve since praised it in other forums (http://goo.gl/kL3jl2) as really one of the more faithful literary adaptations in recent cinema. So that kind of piqued my interest in Thompson’s work — who the fuck is this guy? what could this possibly look like on the page? — and I spent the next couple years catching up on the Thompson canon.
MG: Tell us what made you decided to take this yearlong journey across South America?
BK: I’d read enough to know that Thompson had spent this year abroad in the early 1960s, reporting on Cold War issues from South America, and it occurred to me this must have been a pretty pivotal time in the life of a writer I admired. But for all the unauthorized biographies and oral histories and documentaries and other materials out there about Thompson’s life and work (particularly after his death in 2005), his year as a foreign correspondent hardly warranted a mention. I was curious enough to dig through a couple of microfiche archives and unearth the articles he wrote from South America, most of which hadn’t seen the light of day for fifty years. The more I looked into it, the more I admired Thompson’s gall for just up and hitting the road, trying to will himself a writing career. I had kind of gone a safer route — some entry-level magazine jobs, then grad school — and I was feeling like it hadn’t gotten me anywhere. Around the same time I was digging up Thompson’s forgotten South American reportage, I suddenly found myself divorced, functionally unemployed, and sitting on a mountain of student loan debt. So I did the only rational thing and traded in a bunch of frequent fliers miles for a ticket to Colombia to follow the Thompson Trail.
MG: What was it like to revisit the places where HST lived and worked?
BK: A lot of people see the title of the book and kind of assume I was carousing my way across the continent in some kind of wanna-be-gonzo fog, but I actually couldn’t be less interested in that. To me, it was all fieldwork — I wanted to revisit the topics that Thompson wrote about for the National Observer fifty years ago and, in the process, get some insight into what he learned in South America that shaped him as a writer and a human being. For all his later gonzo persona, Thompson at 24 was whip smart and super disciplined about understanding the forces shaping Latin America during the Cold War. So traveling in his footsteps meant giving myself a crash course in Latin American history, culture, politics, and ecology. And yeah, that fieldwork sometimes involved drinking heavily with miners, capsizing a boat in Colombia, and patronizing a Paraguayan brothel (sort of), but it really was all in the name of education.
MG: What did you find was the most interesting find of your exploration of twenty-first-century South American culture, politics, and ecology?
BK: Well, the surprising thing was the extent to which the issues that Thompson reported on fifty years ago are still very much shaping the continent. Thompson wrote about Peru’s struggles to overcome a powerful political oligarchy, for example, and that’s still very much the story of Peruvian politics today. He wrote about Brazil as this sleeping giant shackled by inflation, and fifty years later, that’s still arguably the biggest economic story playing out in South America. He more or less predicted the rise of the FARC in Colombia and the ascendancy of cambas in eastern Bolivia and a bunch of other story lines that are still unraveling in 2014. In a nutshell, the interesting thing in country after country was how present the ghosts of the Cold War still are — and that made Thompson’s ghost feel very present as well.
MG: Do you feel that you yourself have changed after this exploration?
BK: You know, I reflect on this a little in the book, and the answer is tricky. A lot of the book ends up being about travel itself — about the reasons people give themselves for picking up stakes and about their expectations of what they’ll come home with. Often, this includes some kind of transformation. People want to come home changed in some profound way, and I’m not convinced this isn’t kind of a bullshit goalpost. My time on the Thompson Trail gave me an education, which is really what we should be after anyway.
MG: What do you think it takes to be a “gonzo journalist” in today’s world?
BK: I think this is a term that starts and ends with Thompson. I don’t think “gonzo journalism” is a form or a genre that a writer can just opt into. It’s one specific writer’s style — Thompson’s — and while it can certainly be imitated, the results are almost uniformly shitty. But I do think that the best nonfiction writers working today approach their subjects with the same fearlessness and unorthodoxy and humor and personal investment that were all critical components of “gonzo.”
MG: Do you have a follow up planned for “The Footloose American”?
BK: Yeah, there are a couple of projects in the hopper. One is a deep profile of this globetrotting, nineteenth-century Forrest Gump-type character who destroyed everything he touched, and the other is a sort of a combination road trip tale and education expose. I realize both of these sound a bit weird and cryptic, but you’ll just have to take my word that they’re fun and interesting, and I’ll be all for saying more when they’re a little farther along.
Brian Regan started off in the comedy business after his 1997 CD, “Brian Regan Live” took off and became a huge success. Since then we have been non-stop touring, has worked with Jerry Seinfeld and has appeared on “The Late Show with David Letterman” over 25 times. Media Mikes had a chance to chat with Brian about up summer comedy tour, which makes a stop in Orlando FL on June 21st. and about his amazing career as a stand-up comedian.
Mike Gencarelli: Tell us about your current tour this summer with upcoming stops in Orlando, FL?
Brian Regan: If people like music and dancing and comedy, come on out because I offer one third of that [laughs]. I never know how to sell my own show. It’s me just doing my comedy and that is kind of it. I love the simplicity of it. It is also fascinating to me being off stage before the show starts and you look out and see a microphone stand, a stool and a bottle of water…then you go “Wow, that’s it…that is all I got out there” [laughs]. The simplicity is beautiful and I love the challenge of it.
MG: What do you do to prepare for each show?
BR: I am not like some people that have a crazy routine they have to follow. I will re-tie my shoes though. I know it sounds goofy but the thought of having a shoe untied on stage kills me for some reason. I had a shoe untie when I was on stage a couple of years ago and it just felt incredible awkward, you know? I had to try and put the mic under my armpit and tie my shoe…and you have a thousand people watching you [laughing]. They are thinking “This is supposed to be entertainment…not watching a guy tie his shoe”. It just felt wrong.
MG: …Wow, I can’t believe that he double knots [laughs]
BR: [laughs] Yeah, maybe I should invest in those kids’ Velcro shoes or something, I don’t know.
MG: How do you blend your classic work with your new material when you perform a live show?
BR: When I first come out, I do about an hour and that is the most recent material from the last few years. This is the show that I am working on, so to speak, is the more recent stuff…the fresher stuff. Then usually, I will say “Goodnight” and then come back out and do a little encore. During that time, I might do a handful of bits that people are more familiar with and they will be able to shout out and so on. I like having that line in the sand to delineate between the two. It would be awkward for me to just do old bits. I would feel a little stale.
MG: I saw one of your shows a few years back and people kept calling out for classic bits…
BR: It is an interesting dilemma. I am honored that people know my stuff and want to hear it. My fans are very cool. They usually know that for my first hour they let me do my thing and they know they will have an opportunity at the end to shout out. You can get some people shouting out in the middle of the show “Do Donut Lady! Take Luck!” I usually just smile, nod and go back to my new stuff [laughing]. I try and nice guy it and usually they get the hint. Some people don’t get the hint and they keep yelling and then I have to tell them the process and how I will get back to that stuff once I plow through this new stuff. Then if they heckle a third time…I have them shot with a BAZOOKA! [laughs].
MG: Congrats on recently making your 26th appearance on “The Late Show with David Letterman”, the most of any comedian; how does this feel for you?
BR: Thanks man, I am very honored by it. There was a day that I couldn’t even get on the show. I had auditioned a couple of times. They were intrigued but never pulled the trigger on me. When I did get on the show, it meant the world to me. Doing the one means everything and the moment you are done, you think “Wow, was it good enough to get a second” [laughs]. Automatically you have a new goal. It is like crossing the finish line at a marathon and wondering where the next 26 miles go to. I obviously did well enough that I was brought back a second time and I was able to just get some traction on that show. Clearly Letterman and the show seemed to like me and it just feels tremendous to have this constant national booster shot that I can get on the show about every nine months.
MG: Along with David Letterman, you have many big named celebrities like Jerry Seinfeld and Patton Oswalt praising your work; does that add any pressure to how to perform?
BR: Nah, listen I am incredibly honored by it. When you have people who do what you do like what you do. It is like the ultimate compliment. I don’t put any extra pressure on my shoulders. What is the expression…”you dance with the one that brung you”. I just do what I always done. I just try and come up with stuff that I think is funny. I just do my thing. What I like is turning the material over. To me, that is one of the thing that has really helped me along the ways. Every couple of years, I feel like I have another hour of material under my belt. So people tend to keep coming back. So I try not to worry about what other comedians will think. I am honored that they like what I do but I think they like what I do because I do what I want to do [laughs].
MG: How do you feel that stand-up has changed since starting back in the mid-90’s?
BR: The technical side of things have definitely changed. It gives the average Joe Blow out there in the entertainment world a fighting chance, especially if the powers that be aren’t inclined to give them a fighting chance. Back in the day when it was just TV, you needed to convince “The Late Show” or “The Tonight Show” that you were funny. Then getting on one of those, I am going way back here, was sort of being knighted. It put you into the forefront. Now things are much more fractured, there is many ways to get content out there. Anybody can tape themselves and put it up on YouTube. If they have some jets then they might be able to get some traction, which could lead to the higher ups taking notice. So for the most part it is good but there is just a sea of content out there and in some ways makes it harder to break through. There are a million people with a million clips.
Brian Henson is the son of Jim Henson, creator of “The Muppets” and the current chairman of The Jim Henson Company. For years Brian has been working with his family in the company as a puppeteer in roles like Jack Pumpkinhead in “Return to Oz” and directing//producing “The Muppet Christmas Carol” and “Muppet Treasure Island”. He was also behind the TV series “Farscape” as the Executive Producer. His latest venture is in reality TV on Syfy with the series “Jim Henson’s Creature Shop Challenge”, which is similar to other Syfy shows like “Face/Off”. Media Mikes had a chance to chat with Brian about the TV show and also get the scoop on upcoming projects like “The Power of the Dark Crystal” and “Fraggle Rock: The Movie”.
Mike Gencarelli: How did the idea come about to do this show, Jim Henson’s Creature Shop Challenge?
Brian Henson: We were trying to think if there is a show that would make sense for The Jim Henson Company in the reality side of television programming. There aren’t many…because we are The Jim Henson Company. Almost everything we do has an element of fantasy or science-fiction in it. In many ways we are the opposite of reality. We make things that reflect on reality and allow you to objectively compare it to what we are presenting. But we decided that one area that is particularly exciting of our company is in the creature designing area. These artists, who are designing, conceiving and then building these creatures, really are like magic. They are extraordinary artists. We thought that doing a show around that aspect would be the most interesting area to the general audience. It is sort of like this secret world. There are no Academy Awards for creature designers. There are some creature designers who have won Academy Awards for costuming, make-up or special effects. Joe FREID, one of the Executive Producers, really shared the same enthusiasm in that area of our company and also has a strong background in reality TV programming. We went out to pitch it and Syfy loved it. We made it pretty close to the “Face/Off” format or even the “Project Runway” format. But what is different about it is that it is going into an area and a type of artist that is much different than anyone has ever seen. It is taking place in the Jim Henson’s Creature Shop and the prize really is a job with us.
MG: How do you come up with the challenges for the show like the first episode’s undersea creature?
BH: We basically kept making lists of creatures that we thought would be interesting. For season one, we said that none of the creatures should be allowed to use any compositing, puppeteer removal or some of the techniques that we would normally use in television or feature films. So that closed us up a little bit and kept us focused for season one. Then we had about 15-20 good ideas on the board and we basically produced what we thought was a good wide range of creatures. One thing that is great about creature making, which perhaps is not true of some of the cousins to our TV show, is they are very different depending on what kind of creature you are looking for and what kind of screen test you presenting at the end of the episode. It means that every episode is able to stand alone and be unique from the one before it, which is a lot of fun. You should also expect the challenges to be more and more ambitious as we go forward, which I think is pretty great.
MG: What are you feelings on CGI versus practical effects like puppet work?
BH: My take on it reflects my background and where I come from and where my dad came from, we are a performance oriented company. So what excites me is performing creatures and puppets. We do some CGI but we call it digital puppetry. The way we do CGI, is that we real-time animate 3D creatures using performers. So if it comes from performance and creating a real moment for the characters then that is what excites me and our company. So in that sense, I prefer the animatronic creatures to the CGI creatures. But that is also due to my background. If someone comes from key frame animation, they may prefer CGI to stop-action animation. But I think there is wonderful space for every technique. There is clearly a sacrifice you make when you decide to go CGI with a creature is that you are not actually creating a real moment that you then photograph. With most of our stuff besides the digital puppetry that we do, what you see has really been created and has been photographed and is now in the movie or TV show. It really happened and was really there. You can’t underestimate the value of that. It may mean that things are not quite as slick or accurate as CGI but it really happened and there is something really delicious and exciting about that. Certainly we have been seeing a big move towards CGI creatures but I think with films like “Where the Wild Things Are”, we are starting to see a movement back towards practical effects. But like I said there is definitely a space for both.
MG: I feel that this show actually brings this type of work back into the spotlight…
BH: Yeah, it’s been like a secret world. Nobody knows how these creatures are built and created. Nobody has done a show like this and it is really interesting watching them work.
MG: Yeah, one thing I would love to learn more about myself is the actual mechanics behind-the-scenes with these creatures.
BH: Well as you watch more of the series you will be more of that as well.
MG: Tell us about choosing your co-judges including Kurt Thatcher and Beth Hathaway?
BH: Initially we weren’t sure if we wanted to go with an all internal panel. Kurt is really an inside guy. Most of the work he has done in his career has been with our company. We wanted it to be as credible as possible because like I said the prize really is a job in the Jim Henson’s Creature Shop. Kurt is the type of person who would do the hiring along with me who would also be making those judgment calls. At a certain point, we realized it was just too much Henson. So we reached out to Beth Hathaway, who is also a very experienced creature builder but her background is along the lines of Stan Winston and Rick Baker. It was actually really fun bringing her in since she is kind of an outsider but we just love her. It was good having her point of views and opinions on the judging panel.
MG: What do you see that the future has planned for this type of practical effects and for Jim Henson’s Creature Shop?
BH: I think there is a lot of opportunity for us to do more creature work. I think we are coming out of a time where the industry has been in a flux. I think people are now starting to stabilize and spend more money for cool fantasy/science-fiction characters. I think you will start to see more practical effects…but probably mixed in with some CGI, which is like what “Where the Wild Things Are” was. I think the best creatures yet to come are going to be a little bit of everything used to bring that creature to life.
MG: Do you have any update on The Power of Dark Crystal and Fraggle Rock movie?
BH: The truth is that it took me five years to get “Farscape” on the air. These things take time. Some of that time feels like you are just waiting around. There is a lot of things that need to come together in order to make these projects work. You need to have the right talent, financing and distribution partners. But I can tell you that these both in active development currently within our company. We are determined to get them made. It is big though and a lot of elements need to come together to get a movie made.
Photos courtesy of Syfy
“27: A History of the 27 Club through the Lives of Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain and Amy Winehouse”
Author: Howard Sounes
Hardcover: 360 pages
Publisher: Da Capo Press
Our Score: 3 out of 5 stars
Named one of Publisher Weekly’s Top 10 Music Titles for Fall 2013 “27 A History of the 27 Club through the Lives of Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain and Amy Winehouse” written by Howard Sounes is a book that takes a look at music’s “27 Club” and the artists who comprise it. Told over the course of 360 pages Sounes looks not only at the artists lives but also at their deaths and from there attempts to compare the artists in an effort to find similarities in these 6 subjects.
When I received my copy of “27” I thought to myself why hadn’t someone thought of writing about this sooner? This so called “27 Club” isn’t just made up of meteoric artist who only experienced a flash of success. Instead the members of this club include influential musicians who during their careers impacted millions of listeners and helped shape their respective genre’s for years to come. The thing I enjoyed most about how Howard Sounes approached this rather speculative topic is fairly interesting. The book is broken in to two parts with the beginning chapters being devoted to the life of each musician and the chapters toward the end of the book relating the deaths of these individuals. It was kind of nice as having followed the careers of both Kurt Cobain and Amy Winehouse I was able to sort of jump around a little bit as a portion of the material here has been widely documented and I think I am still recovering from the media coverage of both these events even though they were some time ago now.
Those looking for definitive answers on what ultimately ties these musicians together in death might not be too surprised with the information contained in this book nor will the reader find a lot of new or undocumented information on the subjects as I don’t feel that was the authors intention with this book. Instead for the first time the information about these six people is available all in one place combined with one person’s perspective on the events which are surprisingly similar. Combine that with 16 pages eerily fitting black and white photography and “27 A History of the 27 Club through the Lives of Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain and Amy Winehouse” makes for an ok read.
Brian Tee worked on projects like “The Fast and the Furious: Tokyo Drift” and TV like “Grimm” and has a busy year a head of him. He is playing the role of Liu Kang “Mortal Kombat: Legacy 2” and Noburo Mori in “The Wolverine”. Media Mikes had a chance to chat with Brian about his roles and what we can expect.
Mike Gencarelli: Tell us about how you ended up taking on the role of Liu Kang “Mortal Kombat: Legacy 2”?
Brian Tee: I heard about “Mortal Kombat: Legacy 2,” while I was shooting “The Wolverine” in Australia. I knew of the Series through one of my best bro’s Ian Anthony Dale. He plays Scorpion in the “Mortal Kombat: Rebirth” Trailer and in Season 1 & 2… he’s a brilliant actor and crushes it as the Scorpion. He’s perfect for the role. So I called him and asked about his experience on the shoot and working with Kevin Tancharoen. He had such high praise and I was already a huge fan of Kev’s work, so I had to be a part of it. BUT, I have to admit, at first I was like “hell no, I won’t play Liu Kang!” to be honest, as a kid popping quarters in the MK video game, I hated playing Liu. He just seemed to me to be a caricature of the stereotypical kung-fu guy. So when the role was brought up, I was the first person to think I wasn’t right for the role… I love playing characters with depth and complexities that at first glance, Liu never had… UNTIL, I read the script and talked to Kevin about it. The script blew me away and completely transformed Liu into something I’d love to sink my teeth into. And as we spoke, Kevin and I were on the same page, with what we wanted and didn’t want Kang to be. So with Kev’s genius vision we created this now anti-Hero character and took Liu to a completely new image and darker place, with the grounded visceral justice that this version of Liu Kang deserves.
MG: How did you prepare to play such an epic and important character?
BT: Pleasantly surprised, this character really pushed me as an actor in so many ways, both emotionally and physically. Because you’re right, Liu Kang is an already iconic figure, so it’s harder for fans to relate to him. And that was my focus… I worked on connecting to the being, not the figure. I really wanted to delve deep within the soul of the man, not the image of character… Not to get too “actor-e,” I wanted to bring a grounded reality and create the person, not the persona… so that fan’s can connect to him as I did. Physically, I knew there were huge shoes to fill playing this epic character. I know I had to step up my game in order to successfully pull off what I wanted to withLiu, in the series. I was pretty adamant that I wanted to try to do the majority of the stunts the character demanded… but that respect is earned, not given. So I knew I had to prove myself. You don’t just go up to the greatest stunt coordinator in the game, Garrett Warren, and say “yeah, I can do that”… you have to work for it. So with the help of Garrett, the amazing stunt choreography Larnell Stovall created, my stunt double Kim Do training me personally, and along with some of the best stunt guys in the business… I had the good fortune to work my way into the fights, and be worthy enough to do the majority of them… which inevitably helped me embody Liu even more. I’m really proud of the Liu we created… and hope the fans enjoy him as much as I do!
MG: What can we expect from your episode in the web series?
BT: I am actually in quite a few episodes throughout the series, but I’m really looking forward to episode 1. It’s the first of this season and sets the series off… so there is a lot riding on it. I know there are a lot of expectations from the fans out there considering how awesome Season 1 was. But I got gotta tell ya, I can’t wait for the fans to see whats in store this season. Episode 1 establishes Liu Kang like you have never seen him. I think it will go beyond the expectations they might be used to with Kang… because we completely turn this character upside down. And not to mention, the fight scene is just jaw dropping! This episode moves you in ways fan’s won’t soon forget and I hope will keep them wanting to come back for more!… because that’s just the beginning!
MG: What is your favorite move or fatality for the character?
BT: My favorite Liu Kang fatality has to be the “double flip kick into the uppercut”… I’m old school.
MG: You’ve done films like “The Fast and the Furious: Tokyo Drift” and TV like “Grimm”; how does a web-series compare?
BT: This Web-Series was pretty much shot like a feature film, so in comparison there is no difference. Though it was a much smaller budget compared to other mediums, what Kevin, the cast and crew did with the limitations, is unbelievable. It looks and feels like a major studio feature separated into episodes for the web.
MG: Do you think we will be seeing more of you as Liu Kang, perhaps in the upcoming feature film?
BT: I hope so. Though nothing is set in stone, I think if the fan’s come out to watch the Series, they’ll be the judge.
MG: Tell us about your role Noburo Mori in “The Wolverine”?
BT: Noburo Mori is the character I play in “The Wolverine.” He is a politician that I feel, rides the line between good and evil, and will do whatever it take for political gain… But I guess that’s most politicians. 😉 Without giving too much away, he is arranged to be married to Logan’s love interest, so you can imagine it won’t end pretty. But also… this installment of “The Wolverine” is epic! Fan’s are really going to enjoy James Mangold’s mastery in bringing a side of “The Wolverine” fans have never seen. Along with the unbelievable action at the biggest scale, James has brought new layers and a depth fans will appreciate and relate to. Logan is vulnerable both physically and emotionally, its a war against his own nature and he must finally embrace who he is. It’s actually not to dissimilar to our take on LiuKang… both have demons inside of them that they have to overcome in order to find their true self.
MG: What else do you have in the cards for 2013 and beyond?
BT: Well, I just finished a new TV pilot called “Anatomy of Violence,” starring Skeet Ulrich, Amber Tamblyn and David Harewood, directed by Mark Pellington. Its from the creators of “Homeland,”… which I love, so it was great to work with the creatives and to be a part of this amazing cast and show. I’m also wrapping this incredible art house indie, called “The Beautiful Ones,” starring my good buddy Ross McCall and directed by Jesse V. Johnson. Ross is awesome in it and Jesse’s vision is remarkable. I’m also up for this dark suspense thriller with some legendary actors… fingers crossed. And of course, I’m looking forward to reprising the role of Liu Kang in the feature… but we’ll have to wait and see. In the mean, I’m pumped for the “Mortal Kombat: Legacy 2” Web-Series to come out and see the response of the fans!… maybe they’ll decide.
Brian “Head” Welch is a founding member and former guitarist of the multi-platinum selling hard rock band Korn. Welch left the group in 2005 and embarked on a solo career releasing his first album “Save Me From Myself” in 2008. More recently Brian is back with a new band called Love & Death who recently released their first full length album titled “Between Here & Lost”. Media Mikes had the chance to talk with Brian about the new and as well as the recent announcement of him re-joining Korn for several shows.
Adam Lawton: Can you give us some background on the process of the new album?
Brian Welch: I and our bass player Valentine started writing and working with producer Jasen Rauch in 2011. We worked off and on until we finished it last year. The album came together in bits and pieces but it was more of a group effort. When I started as a solo artist I hired the band and we just became friends. From there we all talked and decided we wanted to make an album together and have things be more of a group project.
AL: All the songs were written collectively then?
BW: Yes we all wrote them together. We also had some help lyrically from a few outside writers as well. This was the first time I had ever brought in someone from outside the group to work on songs. I have to say I loved it! There are times when other people hear different things that you didn’t and a lot of the time it’s really good. I enjoyed the experience. Lyrics aren’t my strongest thing so bringing in some other guys really helped a lot.
AL: For you personally what was the hardest part about transitioning back to a group setting after being a solo artist for a few years?
BW: Letting the producer take over. The solo album was all about what I was feeling and what I wanted out of the album. With “Between Here & Lost” I just handed everything over as I didn’t want that producer type role. Jasen was just awesome and I would highly recommend him to anybody. He is really good at making good things great! Everything was new this time around which made for a really creative environment.
AL: This was the second time you had worked with Jasen correct?
BW: Yes. We did an EP with him last year that came out in April. Things were very comfortable being that we had worked together before. Jasen is a guitar player also and has this great ear for making riffs sound up to date and tweaking them to sound really great.
AL: What prompted the idea of covering Devo’s “Whip It”?
BW: I was trying to think of the weirdest New Wave song I could do and that one came to me. I remember those guys as being the weirdest guys on MTV back in the day. It seemed like everyone knows who Devo is because they are so weird and those hats. I wanted the song to be something everyone was familiar with. At first the other guys in the band thought the idea was pretty stupid. When I played them the music and the idea it changed their minds and they thought it could work. It was really fun.
AL: What can you tell us about the bands new video for the song “Abandoning”?
BW: The video just came out within the past week or so and it was cool shooting it as we got to work with Daniel Davison from Underoath/Norma Jean. Being he is a musician he just gets it so the shoot went really good.
AL: Can you tell us how things came about for you to be joining Korn at this year’s Rock on the Range Festival?
BW: I went to a show of theirs last May and ended up jamming a song with them on stage. It was very last minute but it felt so good and it was very emotional. Right after that Munky, the other guitar player asked me if I wanted to come back and do some shows with them. I told him that I didn’t think now was the right time but I would think about it. I just started thinking about how awesome and emotional it was for everybody. I started getting advice from other people and they were all leaning towards this being the right time. This door obviously opened for a reason and there will be some reconciliation going on that needs to happen. I went back to the guys and said let’s do it. Everyone was very agreeable and things came together pretty easily.
AL: Is there any chance drummer David Silveria will be back as well?
BW: No. David has really said some crazy things online about personal things and he’s not in a place where people would really want him around. That happened before I talked with them but I guess the things he said were really crazy. Those guys were in a band together for so long so I don’t know, but for now it’s just not going to happen.
AL: Have you and the guys from Korn started rehearsing yet?
BW: We have been getting together off and on but we will be starting to get things going more in the next couple of months. It’s going to be a lot of fun to play those old songs again. The times we have been together so far have been nothing but positive between everyone. It’s like nothing negative ever happened between any of us. Things were never really crazy between any of us as there were just a few things said here and there. We never had hate for one another as I love my old friends and it feels good to connect again.
AL: Is thing going to be just a short run of shows or will you be fully re-joining the band?
BW: We are going slowing with things right now. We don’t want to rush things and we also aren’t sure how far we want to take it. Anything is possible at this time but we are being really careful not to move to fast and have something happen. Even if I was to fully re-join Korn I will still keep doing Love & Death.
AL: Does Love and Death have any shows lined up in support of the new album?
BW: Yes. We will be heading out on the road starting Feb. 22 for a month long run with Thousand Foot Krutch. We will be hitting everything from Texas to the east coast. After that we have some weekend shows planned and after those there is a chance we will be doing some opening slots for Korn over in Europe. Those details are still being worked out.
AL: In the past few years you have done things like releasing a solo album, writing a book and now you are doing Love & Death and working again with Korn. What do you think has been the most rewarding thing to come out of your time away from Korn?
BW: I would probably have to say my faith. That is really the foundation of my life and it helps me in every way. My book was very liberating and cleansing to my soul. I was able to poor out all of that garbage and live the new life I was given. It’s funny when you find faith like I did as everything turns around for good. Even the bad and ugly stuff gets turned around to use for good purposes. It’s so cool to be able to think back about all your past screw ups and see how now they are now being used to help people. It’s the coolest thing ever.
To check out Love & Hates new video “Abandoning” and to also see a full list of tour dates be sure to check out Brian’s official website at www.brianheadwelch.net