Sum 41

During the last day of Graspop Metal Meeting while the sun was burning us all. We at RMP found some motivation to have an in too deep interview with Jason ‘cone’ Paul and  Dave Baksh of Sum 41.

 

Hi and welcome to your first time at graspop. How has the festival been so far?

Dave: We’ve been up fro like an hour [laughs], so we ran into our friends from Steel Panter and that’s about it. I freaked out because I saw Primus was right across the walkway from us so I want to see if I can shake that golden bashand.

 

Are there any of your personal favorite bands playing here today?

D: Scorpions, Suicidele, …

Jason: Yeah, Steel Panter,….

D: Primus for me

J: Hatebreed…

D: Ow yeah Hatebreed, that’s right! I love that work that Jamie did with Body Count. I thought that was pretty rad. Who else? ..

J: I mean there so many bands so …

D: we briefly looked at the schedule today and those are kinda who we want to see. And Zombie too, I don’t know if we mentioned Rob Zombie.

 

You already played in Belgium this year at the AB and you had big balloons and you’re own version of an inflatable Iron Maiden’s ‘Eddie’ with you. Can we expect specials today when you close the last day at the Jupiler stage?

D: Ohw, yeah it’s an inflatable ‘bonesy’ we can’t call our guy Eddie. Eddie is exclusive to Iron Maiden. He doesn’t moonlight or anything like that. But today?

J: It’s a shorter set for us so we're gonna play a lot of songs that people know. I don’t think we're gonna go too deep into our albums. It’s only 50 minutes so it's hard to experiment to much.

 

Why the ‘bonesy’ figure?

D: We always wanted an inflatable, from like the early 2000’s.

J: Actually, funny enough we were talking about it on the last album, after we saw primus at a festival in Hungary. They had two of them.

D: Ow yeah, you were telling me about it.

J: it’s was so windy out there, they blow around, so they had to tie them down. But I remember when we were leaving the festival, we all thought, that’s so cool. So now we have one. [laughs]

D: So we took the first mascote from our first dvd, and it is basically a skeleton taking a shit with a camera in his hand. (Introduction To Destruction) We decided to blow that up.

 

After 6 years guys are back with an new album called “13 voices”, we were all still waiting on some new material. How has the response been so far?

D: It’s been wild, we never expected this, it kinda started a world tour for us right?

J: yeah, it’s kinda just a hard-rock album, it’s not heavier than everything we have ever done before and it’s not copied. And our fans seem to like it. We are playing a lot of the new songs live and things are going good.

D: It’s awesome to see the different generation join in and sing along to the songs. It’s really cool.

 

What’s your personal favorite song on the new album?

J: I like ‘God save us all”.

D: Yeah; I like “Breaking the chain”  and the title track “13 voices”. That’s are my favorites.

 

Everybody knows Deryck had some problems. How did you cope with the struggles Deryck had as a band?

D: You where in the band at the time, right?

J: it was just a hard situation. I mean we know each other from we were 14 years old, all of us. So you go true you're 20’s and you party and drink a lot. Like we did, we partied a lot but he ended up having a problem with it. So we done a lot of reflecting like that, we changed things, this and that way. The whole situation was unfortunate and the good thing about is that he is healthy and that’s all we can really ask for. And where here playing stuff so that’s good.

D: I remember I booked a blood test that day, to see if my lever would match his. And then it ended up that I didn't have to go.

 

Dave you can play almost every metal song? What’s your personal favorite metalsong or metalband?

D: My favorite one to play, honestly, I play it before every single show that we play, an it’s hallowed be thy name. If I don’t play it before every show than the show won't go right.

 

Cone you got your name because you ate ice cream as lunch at school, is that right?

[laughter]

J: This name is gonna keep going until I am dead.

D: Yeah, we’ve got to give you a cooler nickname.

J: it’s not that funny now that I am 37 years old. 

D: Maybe we can change the story so that you beat someone up with an ice cream cone. Yeah there we go, that’s the new meaning.

J: icecreamboy, yeah that’s what we gonna do.

[laughter]

 

Thank you so much for this interview. Do you have some last words for our readers?

D: Thanks for coming along and thanks for checking out the article. What else can we say, where 20 years old now. We hope we have many more years!

 

Northlane

We at RMP sat down and had a chat with Marcus Bridge and Josh Smith from Northlane before their first show ever at Graspop Metal Meeting in Belgium.

 

Hi, and welcome to Graspop. This is your first time at graspop. In 2105 you had to cancel your show at Graspop because Marcus was sick. Are you ready for your first graspop show?

Marcus: Yeah, I got unwell unfortunately. So it’s good to finally get here, I was really bummed about last time. Graspop is just one of those festivals I remember from watching live sets on “Youtube” when I was younger, so it’s good to be here. 

 

You’ve never been on Graspop before as visitor?

M: No, never before. So it’s quite the experience.

Josh: We don’t live close enough to come and watch. [laughs]

 

Yeah Australia is kinda far from Belgium.

 

You surprised your fans with  a fourth album ‘Mesmer’, how has the

response been so far?

M: The response has been great. When we released the album the respons was overwhelmingly positive and there was more reaction than northlane ever received on the initial release of a record. It’s so good seeing so many people being positive about it. Especially with that lack of warning.

J: Yeah, I think it was a cool way to release, it was a gift to our fans, they could listen to it stread away on “Spotify” or wherever they wanted. And they didn't have to wait. We noticed when playing the new song live, that they are going really well. The audience are singing the words, they know the songs, they're really enjoying them.

 

That's good then.

J: Yeah we're very happy. [laughs]

 

Mesmer is derived from physics, can you give us more content about

the term ‘mesmer’?

J: Well Mesmer is referring to Franz Mesmer, all of his theory's where disproven. He had some really cool theory’s about magnetisme between all living things, he called it animal magnetism. I thought that this would be really interesting, I think it’s quite a cool theory.

M: I guess that idea of everything being connected has weaved its way true Northlane’s music along time. It's just a different angle on it I guess. That was very interesting to us.

J: Most of all we thought it was a very cool sounding. 

 

When releasing the album you stated that this was the toughest recording process you’ve ever endured. How come?

J: We all went thru a lot of personal stuff enduring the process. We lost friends and family, we had relationships failed.

M: A lot of bad things happened while we were writing the album. 

J: We were able to channel that into the stories we told with our songs. Marcus especially was pushed really hard by our producer David Bendeth to bring things up he never really talked about before and truly convey what he was saying through the music.

M: Yeah there's definitely a lot of deeper, not issue’s, but deeper kind of feelings that a lot of us, especially myself, never been able to let out and get channeled into our music. And I think it was very freeing and therapeutic to talk about some of this tragic stuff that’s going on. And in the end I think it’s made for songs that are more personal and something people can connect more when they are listening. It was definitely difficult but I think we achieved something special with it.

 

The album artwork got a very graphic feel to it. How did you come by this design?

J: well, there’s a certain style of designers we are into. There was this one guy in Montreal, he goes by the name Fvckrender, [laughs], he uploaded new pictures on his instagram account that he come up with. We spoke with him about doing our album artwork because, we thought his stuff was really cool. We gave him a concept and then he did something for us and we didn't really liked it. So we weren’t really sure what to do, we thought about for a week, and during that week he uploaded a picture. As soon as we saw it we were like, oh my god that's perfect, that’s us. It had got like these things in it, these recurring motives that are in all of our album art and straight away we told him we want to buy that album artwork of you. We had to modify it a bit, because everytime he makes a picture he doesn’t save any of the stuff, he just uploads it and then it’s done. So he created something very similar and that became our album artwork. It was really cool.

 

You also use a triangle in a lot of your merch or band design. Does this has a reason?

J: No, there is no real reason.

M: I think the interesting thing with the Mesmer art as well, it’s a combination of art that all have come before us, a lot of the colors are very similar to our past artworks. And I guess the cube looking design that Northlane had in their designs for a long time so it’s a cool mix of everything.

 

Any bands playing here today that are or have been a great inspiration for you guys?

J: yeah, Rammstein. [laughs]

M: Did I see Sepultura is playing today? Cause that's outrageous. 

J: They were one of my favorite bands as a kid too.

M: and I am very keen to see Europe. Their not necessary a big influence on me, but they're a band that I am very excited about to see. 

 

Thank you for the interview, do you have any last words for our readers?

M: thank you, thanks for having us. Good to be back in Belgium.

J: Yeah, good to be back.

Triple Tuesdays, June 20th, 2017

Hey there everyone, welcome back to Triple Tuesdays! Today we present Vespera, Two Year Break, and Hollace!

We're starting off with Vespera, a rock band from Seattle,Washington. "Bloom", the debut single from their upcoming album is a dark and mysterious song that talks about time and speaks of unlocking the memories and what they can do together to overcome their past.

Two Year Break is a pop-rock band from London. Their recently released single called "Hourglass" talks about wanting to change and realizing what can be done to make things better for themselves.

Hollace is an alternative rock band formed in Coachella Valley, CA. "Sidewalks" is full of beautiful harmonies and has a strong 90's rock feel to it. The song itself speaks of starting anew, looking for something better, and wanting to be free.

Thanks for listening! 

Musical Mystery Magic

Hey there everyone! Welcome to a Musical Mystery Magic night, tonight we present X-Vivo, The Holiday Electric, and Society Of Beggars.

In case some of you haven't heard of X-Vivo, they're a post industrial metal band from Berlin, Germany. "The Eyes of the Wolves Awake", taken from their new album Petrichor, can be best described as Slipknot meets Evanescence. The vocals in this song are both heavy and beautifully eerie; it's so strong in emotions that it will chill your bones. 

The Holidy Electric is a rock band from NYC. They recently released their new EP called Now, here is the title track which combines a mixture of classic rock and an 80's heavy metal song feel to it.

Society Of Beggars is an alternative rock band from Melbourne, Australia. "Old Haunts" is the single from their recent release An EP Called Night. The lyrics in the song sound like they are talking about wanting to restart something better and sticking together into a more hopeful life.  The song itself sound longing and adventurous. The video alone is about, "a group of ordinary people who are thrown together to share a ride in the backseat of a strange car, throughout the journey learning more about one another and discovering what truly counts in the end." Check it out for yourselves!

Thanks for listening!

DREAMCAR Live at St. Andrews Hall, Detroit, MI

Members of No Doubt and AFI took the stage at St. Andrews Hall on Friday, May 26th as DREAMCAR, a group comprising of Tony Kanal, Adrian Young, and Tom Dumont of No Doubt and AFI frontman Davey Havok.

Within the first few seconds of "After I Confessed", the entire crowd began to dance. Despite only being half-full, the room was filled to the brim with energy and excitement. 

Vocalist Davey Havok is known for his captivating stage presence, but his theatrical charm as he powered through each song was unparalelled. I found myself smiling and laughing as he engaged with multiple members of the audience in relation to each song.

Bassist Tony Kanal and guitarist Tom Dumont have an easily visible rapport onstage. Occasionally visiting each other to play face to face, several times through the set I was delighted to see them smiling and having fun, clearly happy with what they were doing. It was relieving to see the band enjoying themselves, as opposed to the "I'm so serious" attitude that seems to accompany a lot of bands these days. 

Drummer Adrian Young was on his game. Behind a red kit adorned with sparkles, he managed to play with effortless precision and a variety of facial expressions, which are often the best part of watching drummers do what they do best.

Overall, this show was a lot of fun. There was no roughness in the crowd, everybody was smiling and dancing, the band were on point, and even the venue staff seemed to be having a good time. If you didn't catch them on this past tour, you truly missed out. 

See the photos of DREAMCAR from RMP here.

Keep Flying Make Their Mark with New EP

A year after the release of their debut EP Follow Your Nightmares, New Jersey/Pennsylvania/New York pop punk band Keep Flying released their second EP, Walkabout, on May 26th.

Filled to the brim with references to film and television, this EP is unlike anything I’ve ever heard before. A refreshing reminder of the golden era of pop punk before everything was about pizza, hating your hometown, and your ex-girlfriend, Keep Flying’s unique sound is accentuated perfectly by their horn section.

Yes, you read that right. No, they’re not a ska band.

In six songs, Walkabout will guide you on an emotional journey through heartbreak, addiction, anger, recovery, and optimism.

Songs like “High Cholesterol” and “Live Together, Die Alone” visit themes of self-acceptance and optimism for the future, while songs like “Miranda” and “Jamestown” provide a juxtaposition with themes of cynicism, resentment, and frustration with the human condition. Anyone who’s been following the Menzel brothers (frontmen Henry and D.Jay) will experience a very pleasant familiarity with the fifth track, “Misbehave”.

I’m not exaggerating when I say that Walkabout blows its predecessor (Follow Your Nightmares) right out of the water. This EP delivers on every front.

With emotional and powerful lyrics, as well as strong, driving music behind them, the only disappointment with Walkabout is that is isn’t longer.

Rating: 9/10

Favourite Song: Jamestown

Favourite lyric: “I can’t imagine what it’s like to live a life so numb, so devoid of all emotion. Look at what you’ve become.”

Watch the Keep Flying video for “High Cholestrol” HERE.

Walkabout was released May 26th, and is available on all online retailers, as well as www.keepflying.band

Periphery – “Nolly” Getgood

Ahead of Periphery's biggest headline show to date at the O2 Forum in London, I had the opportunity to sit down with bassist Adam 'Nolly' Getgood for an in-depth discussion about Periphery III: Select Difficulty, music production and his recent descision to take a step back form touring with the band. Read the full interview below:

 

It’s been a year since Periphery III: Select Difficulty was released. One thing that I noticed was that unlike Juggernaut (2015), which was a high concept, very ambitious double album, this record did not have to follow this concept. Was it nice to not be constrained in this way when making the new album, being able to let individual songs stand on their own a bit more?

I think it’s always sort of a double-edged sword when there’s no defined concept that you’re working towards. If there’s an overarching story, you have something at least to think about when you write the music, and you kind of feel like you’re creating with a purpose. I think it’s difficult for any creator to have just a completely blank page in front of them and just be told like “do something awesome” …you know, it’s kind of good to have a restraint there. I think for sure the band was happy, and I was happy (laughs) not to have to construct something of that length and complexity again, and instead be able to kind of just give each song independent tweaking and really just be able to concentrate on each song individually, and get a load of different feels and sounds in there, and go back in a little bit of a way to some of the older albums which had more of a kind of playful feel to them. I think P3 did that.

 

How else did the recording process differ from Juggernaut to P3? It seems Misha [Mansoor] was more on point with the production in comparison to Juggernaut which was much more of a group effort in that regard?

I think “producing” or “production” as a term is something that is quite …it’s used as kind of a band-aid, catch-all term for a lot of things. Certainly on the very first albums …I know you didn’t ask about those but …those very first albums were very much Misha-driven as a principal songwriter. Juggernaut became far more of a group effort in terms of songwriting. Often Misha is still the kind of channel that other people’s ideas come through, and essentially, to me he’s still the kind of conduit that forms the sound of Periphery.

P3 …I don’t know, I think what really happened actually, and probably what you have in your mind is that the division of responsibility on that album musically, was more that Misha kind of oversaw the production of the songs; the arrangements, the songwriting …ensuring everything was on point there and letting me do my thing when it came to the technical exercise of recording. Physically and location-wise it was nice because we recorded the majority of the album in Misha’s apartment. I relocated to the States for a few months, and we worked in a kind of homely atmosphere. Then at the end of the process, we did the live drums, which is a strange way round of doing things, but it seems to be happening more and more in this modern day and age and I think it’s quite a good way of doing things because Matt [Halpern] had the maximum amount of time to learn the material …that’s always an issue, if the drummer has to suddenly internalise all of the songs, with all of the last minute changes that occur, and he’s the guy that has to record in the biggest ‘chunks’, you can’t really chop up drums quite so much.

We were working with programmed drums during the pre-production, and tracked the guitars to the programmed drums. We went to some effort to make these pretty close to what Matt was going to play, but being quite a spontaneous musician, Matt added a lot of cool stuff that would have taken hours of second guessing to create in a programmed world.

 

Are there any songs on Periphery III that stand out as favorites to you?

Yeah for sure. I think a song that I really like from this album is Prayer Position, which …I have to be careful because that was one that I had a bit more of a hand in writing than some of the others, but at the same time I don’t think it’s just my ego that’s dictating that to me. I think that for me, the song just has a really cool, kind of bouncy tempo …again, Misha acted as the conduit for that and made some pretty integral changes to my original ideas that changes them into some really awesome riffs , in my opinion.

I was writing this riff, the first riff of the song, and funnily enough it was happening whilst the guys were jamming out what became Lune in Misha’s living room. I didn’t have a bass rig to jam through for that and I went into the other room with this idea that I had been toying around with in the evenings when we hadn’t been recording, and laid it down …but I recorded it with a straight feel, [rather than the triplet feel that appears in the final song] which I liked, but it was a really awkward tempo and we actually kind of abandoned that idea a couple of times, kept bringing it back and couldn’t really make anything work. Misha then, as a joke as he sometimes does when he’s programming drums …not really a joke but just kind of as a hail mary on the idea, just programmed and changed the feel to a triplet, one of those things where ideas just go the other way and you end up with a completely new sound for the riff because It’s all looping in an odd place and accents are changing. We listened for a second and kind of chuckled, but then we were like “wait a minute …that’s actually really cool!” and that completely change the idea and I was really happy because I thought there was some potential in that riff, and with that change it was given a whole new lease of life and that made it stand out on the record for me, it’s kind of a stomper from beginning to end.

 

The Price Is Wrong was nominated for Grammy Award last year, which must have been pretty amazing …how did that feel?

A bit surreal, to be honest. I don’t know if I really registered the importance of it. It was really cool, but to be completely honest I think that the fact that they chose that song from the album gave me the sense that it was perhaps not necessarily on that song’s merit. I am really grateful for the nomination, it’s amazing …I’m really proud of the fact that it happened and my parents were over the moon. I think that song for us was kind of a quick punch in the face that we put at the beginning of the album, and there was so much more effort that went into other songs that I think any distinct listener would be able to pick up on. I’m sorry if I come across as unhappy, because I am super grateful, but what I’m saying is, I take that Grammy and apply it to the whole album in my head.

 

This album [P3] doesn’t have a distinct ‘opening track’ as with albums in the past. Was that a conscious decision or something that came about more naturally?

That was a really conscious decision. From the moment that The Price Is Wrong was completed as a song …because that existed as a demo since prior to Juggernaut which we just never managed to top-and-tail it correctly into the form that it now has …from the moment that was finished, we thought this needs to be the opening song on the album, because exactly that: all of the other albums had started in a more gradual, swelling kind of way, and that’s really cool but we just thought, what better way to change things up than to come out of the gate with a blast beat like that.

 

Tonight is a big night for you personally, being the first Periphery show you’ve played in a while as well as the only for this tour. How are you feeling about tonight’s show?

I’m feeling really good about it now. It’s sort of a stress actually to jump in for just one show, I have to learn the whole setlist, I have to have my rig set up. There’s a lot of unknowns, there a plenty of songs that I haven’t actually played with the band because they’ve been added to the setlist since I left …there was quite a lot of stress on that front, but now that we’ve done the soundcheck and everything’s sounding cool, and I feel stronger about the songs I feel really good about it, I think it’s going to be an awesome show …the biggest headliner that Periphery has ever played …which is why I kind of cherry picked this one! (laughs). The London shows have always been amazing and it seemed appropriate to come along and do this while [the band] are in my home country and reaching for the stars with a bigger venue that they never normally play, which looks like it’s about to sell out, too.

 

The dates without you present so far have not had a live bassist, with the band using a backing track. Do you know if this is something that is set to continue?

As far as I know it is. I can be completely candid about it, when I said that I didn’t want to continue touring I left the decision as to what would happen to the band, because ultimately it is their decision. Had they come to me and said “we really want to have somebody else on stage in your place” that would have been have been fine …obviously I would have felt sorry that that wasn’t me one some level, but at the same time I’d completely respect that wish. They wanted to try the backing track thing, especially as it takes time to ‘suss-out’ somebody that you’d want to join your touring crew and there were some dates upcoming straight away …they tried it out, and I think pretty quickly they decided that although it’s not ideal, it’s the best of the solutions that are available to them, which of course I’m happy about because nobody has taken my place on the stage (laughs). In fact, it’s me playing on the stage …I did new [live] versions of the songs and sent them to the band so they didn’t have just album tracks to use. I also think it’s a sound guy’s dream, having less instrumentalists on stage (laughs). Obviously, you hear some fans saying it’s a shave having a track and not a live musician, and I can definitely appreciate that sentiment, but I also appreciate the band’s decision that after touring for so many years, it’s a huge deal to add someone new to the fold – there’s so much mutual experience that we’ve built up as a group through touring together, the band really knows eachother emotionally and personally in incredibly deep ways, and for somebody else to come into that is a really difficult thing, with so much potential for that to go wrong and plus I think the band still values the contributions that I can make to what they do in terms of production and continuing to be involved in songwriting. For them, it’s the right decision to make.

 

Now that you have more time freed up from not touring, what do you have going on outside of Periphery?

Living life, becoming an adult! I got married during the recording of Periphery III, and that wasn’t the reason but was definitely one of the catalysts to wanting to settle down and actually experience life as a normal person. Especially with the band being based in the US and me being form the UK, a lot of what’s “down time" for the rest of the guys involves me being in the USA. For them, it’s just a quick nip out to do a quick session of something, or some songwriting, whatever …and for me that means taking time out to go to the US and live there. I was away for many months out of the yea, home for very few …it got to the point where I wanted to move on with being a ‘normal’ human being. Also, the production side has gone really well for me, and in many ways I feel like I have more of a passion for that than for other aspects of music performance and especially touring. It’s been really nice to dive into [producing] more head-on, I’ve worked with some really amazing clients which I am very grateful for and continuing to do so, I’m trying to find that work/life balance that I’ve been craving for a while.

 

I personally really love the Clear EP (2014). None of these songs have ever been played live …is there a reason for this?

I think there’s a few things going on there. One, it was kind of an experiment with every song being spearheaded by a different member of the band …because of that nature, they don’t really fit so much under …it is still a Periphery release, but it doesn’t really fit under the category of something that’s created by the ‘band’, if that makes sense. The other problem is it’s difficult to find time in the setlist to play enough material to do justice to the older things that people want to hear and the new songs. At this point to kind retroactively go back and start shining a light on those songs just means we’re taking away time that we could be playing the newest material that we’re most proud of. Those songs exist, and I’ve actually checked that out quite recently and it’s kind of funny that I’d forgotten how most of them even went, but it’s not that we hate them or anything like that …if we could play for three hours a night or something maybe we would get to playing those songs but in the time that we have it’s just hard to prioritise those ones.

 

Lots of bands nowadays seem to be doing ‘full album tours’. Especially with Juggernaut being such a solid piece thematically from beginning to end, is this something Periphery have ever been interested in?

When we wrote and put out Juggernaut, there was kind of this idea that perhaps one day that might be doable, although there’s quite a few technical hurdles to get through. Something we try to do with almost every album is to not put all the songs that are in the same key and therefore same guitar tuning next to each other. What you’d end up with would be probably needing to change guitar after every song in order to be able to play the songs in order …it would be such a mess walking off stage after every song, picking up a new guitar and coming back and doing [the next]. This plus the album length; even to just consider playing Omega in its entirety would be pretty huge. Again, we come onto the same thing like, is it worth doing that over playing the new material? Is it worth taking away and opportunity for a fan who might want to come and see Periphery and wants to see what they heard most recently in the new songs that they like – is it worth taking that ‘one visit’ away from them, you know? It’s an interesting thing, I think perhaps maybe it’s something that may be considered further into the band’s career and maybe not with juggernaut. At this point there’s so much new material and we really do believe in the latest thing that we put out.

I always thought it was crazy that Dream Theatre used to put on shows where they would play other people’s albums, like when they played Master of Puppets (Metallica) from beginning to end …that’s pretty crazy isn’t it? (laughs).

 

What led to the decision to cut Icarus Lives from the set?

The decision to cut Icarus is something that came just as I finished touring with the band. I think somebody found a way of polling fans as to what they would like to see. We kind of half expected Icarus to be pretty high on that list but it actually came out really low.

 

I think as band’s catalogues grow, they feel the need to play the ‘hits’ or fan favorites, but often times discover that they don’t necessarily need to do this to please fans. Would you agree?

Totally. I think that’s what happens. The funny thing is, really if you think about it …Icarus has got just a great main riff, and people go nuts for that …but then actually the response kind of chills out a lot for most of the rest of [the song] until the very end when that riff comes back. We should just play that riff on its own for like, 3 minutes (laughs).

 

Finally, is there anything you can tell me about future plans for/with Periphery?

There are some really cool tours coming up. In some ways I’m a little bit of an outsider to the most current plans because it’s not that necessary for me to know but just from knowing the guys and talking about what’s coming up I think there’s some really cool stuff that they’re going to be doing in the coming time. Of course, it has been over a year since we finished recording Periphery III, and while it hasn’t quite started yet, I get the feeling that we’re starting to kind of hit that point where people are interested to start writing new material again, and I think that’s quite an exciting time. Having been out of the fold for a while now I think I maybe feel a bit more inspired than I have in recent times to write some material, so I’m eager to be able to contribute to that. Also, to see what the band’s got going on, because they never fail to surprise me with the quality of their new material.

 

Periphery III: Select Difficulty is out now on Sumerian Records.

Photo Credit: Nick Budosh Photography.

Mobina Galore – Groezrock 2017

Mobina Galore, a band name that oozes of James Bond alike namedropping, but there's plenty of Mobina for everyone. Jenna and Marcia combine their talents on guitar and drum together to form a Canadian powerchord punk combo that will send listeners straight into a moshpit from the first note. So when Mobina Galore graced the Watch Out stage at Groezrock 2017, RMP Magazine just had to have a nice chat with them over a glass of wine in the searing sun.

 

Hello,

Welcome to Groezrock, first time here. How was the show?

 

Marcia : Awesome!

 

Jenna : Awesome, probably my favorite show i ever played. I was out there kind of watching people file in prettty much right on top of our first song. I was thinking to myself, allright this one is up there for one of my favorite shows. Great response, so it was cool.

 

But you're also doing a small acoustic set at the American Socks stand, what can we expect from that set?

 

Jenna : Well, who knows. We never do acoustic, it's like very rare for us to do that. We've only done it maybe twice in the past, a couple of months ago back in Canada. Now that we've like got that set over with i'm just excited to get out there, play a couple of songs and i don't know, if i fuck it up, like whatever. It's not a big deal.

 

Marcia : Little more casual, not as much pressure.

 

You've recently released your new album, Feeling Disconnected. And the album title pretty much covers the load. Songs about detachment, feeling disconnected. How did the album come to live?

 

Jenna : It was an unintentional themed album. We've had a collection of songs that we wrote over the last couple of years. With the amount of touring we've done and travelling we've done it kind of made his way into all of our songs. It came all together quite unintentionally. When we finished the album looking for a title we were looking through the lyrics. When you think about it from a different perspective you kind of remove yourself from it and find what the theme is. And it was just like feeling disconnected just kind of clicked right away. There's this theme on every song of the record.

I don't think we could write an intentional album that has a theme to it. I feel like it would be too much pressure. Some people are really good at concept albums. But i don't think that's us. Because we are together so much time, we experience the same things. We write from a different perspective and when they come together it kind of creates the same energy from both ends.

 

Feeling Disconnected was produced by John Paul Peters, who produced bands as Propagandhi and Comeback Kid. Has his touch have an influence on Feeling Disconnected?

 

Marcia :

He's incredible. As soon as you go into the studio it's basically like he's a member of the band. He is so excited about everything. He has so many ideas, but he's also like, hey what do you think about this. Next song he'll come up with something else. He's great at like harmonies and back up vocals.

 

Jenna : Just little tricks in the studio too. How to set things up. He's so miticulious. It will take us just a whole day to set up the microphones on the amp. No, take it back a little… But it works like right.

 

Marcia : He's on board and he just always takes it up to the next level.

 

Mobina Galore hails from Winnipeg, Heart Of The Continent. Home to some of my favorite artists, The Weakerthans, Propagandhi. But you have a song about Vancouver, which city has your preference?

 

Jenna : People are always like, oh, they're from Vancouver because we have a song called Vancouver. When we were writing the album we already had some songs. We've deciced we were going to spend some weeks in Vancouver and just stay there with friends and write for a couple of weeks. So we've decided to go to Vancouver. That song specificially had all the verses to it that i had written but i didn't had a chorus. We wanted to bring the chorus to this uplifting space. So Marcia ended up writing the chorus on the way to Vancouver. About that experience. It was just very relevant to Vancouver at that time. Vancouver was that place for us where we were finalising and getting tracks together for the record.

 

Marcia : People then always think that we're moving to Vancouver. But it is beautiful place that we love to hang out.

 

The European tour has been going a while now, has Europe welcomed you back on this tour?

 

Marcia : Amazing, Europe is our favorite place to tour. It's beautiful and the hospitality. We've got a bottle of wine here. It's really sunny outside, i can barely think right now. People are just like so excited about music here. They'll pass a poster on a bar wall and see Mobina Galore and be like, ok, i'm going to look that up and if i like them i'll might go to a show. Back home that's not really how, people don't pay attention to new bands in Canada and US. It's a lot harder to get your foot in the door. We just love it here. This is our fourth time touring here. We've been averaging twice a year, maybe knock it up to three.

 

You recently toured with Against Me, one of the bands you looked up to. How has it been?

 

Marcia : It was incredible. It was a total dream. They are such lovely people. We were a little bit nervous because people always say you shouldn't meet your heroes. Because they will never live up to what you think. We didn't know what to expect. It was just like from the moment we met. It was probably Laura that we met first. She just walked up into our dressing room. The whole tour we got along so well. Really inspiring to play shows with them everyday. We play before them so we better

like live up to it. It feels like they really did push us to do better.

 

 

Next to Against Me, another influence is The Distillers, is this the main influence to your vocal style or other influences you want to mention?

 

Jenna : I think that's the most difficult question to answer. Like some bands you hear them and you can take three bands that they sound like. I don't feel we have that in anyway. Vocally for sure it is where The Distillers come into place. I just wanted to be able to scream and it ended up working really well for me. Musically, instrumentally and stuff like that, i don't know. It's so hard because we both have different influences. We're powerchord punk, we don't do any fancy shit.

 

Marcia : It's hard to say because you listen to so much different music and you don't know what seeps in where. We can't pinpoint, for us anyway. We can't say that we tried to write like this person.

Or tried to make a song like this person. You just like listen to like these twenty bands on a regular basis and probably they all seep in a bit a little bit into your playing.

 

Mobina Galore is a two piece, guitar and drums and combined vocals. Is this your favorite way of playing or do you feel a certain limitation to it?

 

Marcia : It's kind of the only way. When we first started playing music together we played with a thrird person. She played keyboard, we never had a bass player. She didn't want to play anymore.

We were open to finding new people to play music with but we couldn't. Before we knew it we had written an album, and we recorded an album and it was just the two of us. Now we're like to far in it. We're comfortable with the music that we are producing and the sound we're putting out. At least in the foreseeable future we don't plan to change it. Or grow the band in that way.

 

What's next for Mobina Galore, any plans regarding tours or releases in the nearby future?

 

Jenna : after this tour we'll play Punk Rock Bowling in Las Vegas and we're playing Fest in Florida. It's kind of our first doing this bigger festival stages. We're doing a North American tour in the summer. And already planning on coming back here in like October or November. Anything we come here, we're just right away planning to came back here in the next six months.

We've been here twice a year, people want you to come back. We're giving the next couple of years 100% to touring.

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Metal Mondays, May 22nd, 2017

Once again, Metal Mondays is back! This week we’ve got not three, not four, but six tracks performed by five different artists, including Avelion, Home 276/423, and Lions Among Us.

To kick things off, we’ve got Home 276/423 and their track “Song of Indignity”. The hardcore act from North Carolina has a heavy, in your face sound that fits in well with East Coast hardcore.

Pittsburgh based post-hardcore band Lions Among Us have submitted “Dreamcatcher”, a year old song that still packs a punch.

Now, two songs from the Italian band Avelion. “Burst Inside” and “Fading Out” are both from their album Illusion of Transparency.


If you like funk, metal, and rap, you’ll like The Altobeelays and their song, “Unkle Furious”.

Until the next Metal Mondays!

Live – Periphery London 20/5/2017

Tonight is a special night for Periphery. London’s own O2 Forum plays host to the largest headline date in the history of the band. A two and a half thousand strong sold out crowd are patiently awaiting this evening’s set, which constitutes one of only two UK dates for the prog metallers in 2017.

To start off the night, Italy’s own Destrange warms up the crowd successfully with a myriad of prog riffs combined with a high energy, hardcore punk flair. The atmosphere continues to be built upon by The Contortionist in direct support, who manage to create a slightly more subdued mood in comparison to Destrange, but not without the inclusion of the essential metal flavour that the crowd demands. Vocalist Mike Lessard spends the majority of the band’s set in the shadows of the stage, reminiscent of Tool’s Maynard, allowing the sonic aspects of the show to take center stage, with the sextet remaining mostly backlit throughout. Their varied set runs the gamut between gentle and melodic through to heavy guitar riffs and screams. Overall, both openers have tonight in amalgamation demonstrated some of the aspects of tonight’s headliner that fans hold most dear; a line-up that has clearly been meticulously prepared for tonight’s audience.

After what seems like an eternity of anticipation, the main event is here. Periphery take that stage to a roaring crowd, soaring straight into 2015’s Juggernaut prelude track A Black Minute. What follows is a heavy hitting compilation of songs which afford a high representation of new material from the band’s latest full length effort Periphery III: Select Difficulty. This combined with an incredible blazing light show provides a visual as well as aural spectacle that is definitely not lost on the ravenous, ever moving crowd. The set is peppered with older favorites spanning the entire discography, and major crowd pleasers such as The Bad Thing and Masamune go down as well as ever. Periphery even treated the assembly of Londoners to a cover of Memento, from guitarists Misha Mansoor and Mark Holcombe’s side project Haunted Shores.

Tonight is clearly an emotional evening, not just for those in the horde of metal fans in front of the stage, but for those on the stage too. At many points during the set, frontman Spencer Sotelo thanks the crowd for being part of the “greatest show in the history of Periphery”, and is perceptively overwhelmed by the turn out and participation of the fans singing every lyric, often above the noise of the band’s multiple guitars and heavy drums. It is clear that tonight’s show is perhaps even more significant for bassist Nolly Getgood, who takes the stage with his bandmates tonight for one night only, and for the first time in over a year, having chosen to take a step back from touring. Towards the end of the show, Getgood even takes to center mic to thank everyone for the “best show he has ever played”. This is followed by a powerful rendition of Periphery III’s closing track Lune, which acts as a catharsis for any energy unspent from tonight’s audience, and ends the night with a thunderous chant of the song’s final “whoa…” refrain.

Overall, this is a night that will not soon be forgotten both by fans and the band alike, and I fell that it is only a matter of time before Periphery return to UK shores to even bigger crowds and even bigger venues.