James Moore's Blog, page 107

A New Approach To Radio Airplay From Feature.fm

Feature.fm recently reached out to me about their song promotion platform, and after some investigation, it looks like a platform that should serve as a good testing ground for independent artists. This post is not intended as an endorsement, as I have not tried their services myself, but I do look into every company I decided to share on this site – only the ones who seem like positive opportunities for independent artists get shared. Also, I have no advertising, so this is merely for the purpose of spreading the word. Check out Feature.fm’s full information below, test them out, and let me know their results!

About Feature.fm:

When it comes to promoting your music or breaking a new artist, radio has always dominated, however, radio has transformed into digital streaming and on demand services with millions of customized stations on many devices.  It’s next to impossible for the up and coming artist to get radio airplay and there is virtually no way to effectively promote through streaming stations.  You can get your music on to digital platforms such as streaming services, on demand, digital distribution, social media, music hosting sites, and anywhere else, but if no one knows about your music, it will never get heard.  Artists waste a ton of their limited marketing dollars trying to reach fans through advertising chaos so that they make the decision to actively listen to their music.

Feature.fm is a smart, cost effective song promotion platform that guarantees your songs get played inside music streaming services to a targeted audience of your choice who are already tuned in by replacing existing, annoying audio ads on streaming radio stations with music that will actually be enjoyed!  The listener interacts with the song as native content within the streaming streaming service as if it’s any other song to increase your exposure and fan base while you track your success with real time analytics. They are provided with links to your social media and music hosting pages along with a short artist bio and picture while being able to utilize any features that exist within the streaming service such as adding to playlists and favorites.

The site is completely self service allowing you to simply create an account, upload music, and start getting it played.  It is completely up to you how much you would like to spend on each campaign with no commitments and can even set a daily limit.  Each stream is paid for until the limit is reached and the best part is that if the listener skips in under 30 seconds, it does not count as play!  Then, if your song listened to again in the streaming service, it counts as an organic play that not only do you not have to pay for, but you actually get paid royalties from the streaming service.   You can guarantee that for every penny spent, your song is actually being listened to by someone in your target audience.

Feature.fm is gearing up for launch and currently adding music that will be included in our go live.  This is a very exciting time for us and a really great opportunity to join early.  We are committed to working very closely with our early partners in order to customize and adapt the service to best fit your needs along with maintaining a strong relationship that will promise exclusive offers and rewards. In our launch, music will be actively integrated with EQuala Social Radio and 8Tracks to over 8 million listeners whose goal is to discover new music as we assess the service before we launch on major streaming services.

Join our band today and get your music played in our official launch!

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post A New Approach To Radio Airplay From Feature.fm appeared first on Independent Music Promotions.

Review of Piqued Jacks new Singles

I’ve only had this computer for a couple of weeks, already it’s starting to screw with me. I’m trying to download tracks for a record that seems genuinely interesting, and yet here I am, stuck in the stone age (or is it the stoned age?) a slave to a shoddy internet connection. But what about my apparent subject matter, Piqued Jacks? What have they got to say about this whole thrice damned situation? The band has put out three six song EP’s in the past few years (Freakish regularity if you ask me), and now they have a pair of new singles out. It’s immediate from the first chords of their latest track No Bazooka that these guys know how to put together a song. Perhaps that’s all that really matters in a day and age where teenagers don’t know what it means to listen to a record, or even a song, the whole way through.

Now admittedly, there’s not much I can write about only two songs, but I’ll give it my best shot. These tracks seem to show a step forward for Piqued Jacks. Perhaps because these tracks are their first written and recorded in the US, it feels as if they have started to embrace their destiny. There is a certain very American quality to this music, a difference from the previous music that isn’t immediately apparent, but is definitely there. On some level it’s probably because the band has evolved as musicians, improving and now able to make more diverse and interesting soundscapes. While older tracks like Amusement Park are certainly very good, they don’t create the fields of sonic bliss that Upturned Perspectives does.

With these two new singles Piqued Jacks have started to tackle something that only the Killers (And to some degree Queens of the Stone Age) have done before them. They’ve managed to create what is essentially catchy pop-rock but mix in prog instrumentation. These guys aren’t just some four piece who are trying to make good by taking some seemingly insane riffs. No, Piqued Jacks are artists of the twenty first century, a band who understand how to connect with millennials, which is a feat in itself. I’m a millennial, and I’m still an electro-space hippy to my peers. Don’t take that the wrong way though, Piqued Jacks are not just another superficial glossy rock band, there is a real depth to the music and this depth is what makes it human. There is no marketing scheme behind this band, only raw and honest sound, some sort of amped up derivation of Chuck Berry’s music.

Have I rambled and romanticized what may just be another crazy group of dreamers? Perhaps. But I think there is something much more going on here, a much deeper reality that these beautiful people are touching on. Your parents told you that you could never make a living with music and shouldn’t dump thousands of dollars into equipment, yet you do it anyway. Well that’s one level of dedication. Now try shifting continents to succeed. I think that’s the most apparent proof that Piqued Jacks are going to rise forth, almighty and powerful. They’re living the American dream, having come from abroad seeking to do what they love, and now they’re getting there, the success is calling and everyone is cheering for them. Let these singles wash over you, Piqued Jacks have come into their own.

 

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Review of Piqued Jacks new Singles appeared first on Independent Music Promotions.

Why Your Band Needs an Interesting Angle

So ever since Upon A Burning Body’s frontman Danny Leal had the gall to ask “What publicity stunt?”when questioned on his recent highly irresponsible attempt to garner interest for his new record, I’ve been thinking about my article on gimmicks. It didn’t take me long to realize that there is something else that can get people interested in your band, having an interesting angle. Now, how is this different than a gimmick? Well, as opposed to gimmicks which are often silly and disparaged by elitists, having an interesting angle simply gets people from all walks of life interested in your band, and if it’s unique enough, you could easily draw in fans who don’t normally listen to the genre of music you play. While it’s possible to screw this up, there has been enough success to suggest that if you’re looking for a way to promote your band, this is the way to go.

Perhaps the best example of stirring up interest for your band comes from Sepultura, the first major heavy metal (well, thrash metal) band to come out of South America. Though they very much adhered to the ‘look’ of thrash metal at the time Sepultura never forgot their Brazilian roots. To this day, the bands frontman Max Cavalera (Now in Soulfly) will scream about being from Brazil on stage, even wielding a guitar with the Brazilian flag on it. This pride in their national heritage made fans in the 80s do a double take. Who were these guys from a country none of us had barely ever heard about outside of school? How could metal come from somewhere so far away? What drove their incredible primal aggression? Being the premier metal group to rise up out the third world was not an easy task for Sepultura (The current incarnation of the band has no original members left for one) but it left them on top, among the lords of heavy metal.

When it seemed like interest might start to wane, more than a decade into the bands career the band released their all time classic Roots a record that fused thrash metal with the tribal music of the Amazon. They did this by actually going into the Amazon and living with the Xavante Indians. If that’s not dedication I don’t know what is! Part of the reason that this record was recieved so well was because the bands previous record Chaos A.D had already started to experiment with tribal sounds. In the end, this new direction earned a lot of respect for the band. One critic writing for The Daily News put it best when he wrote “Sepultura reinvented the wheel. By mixing metal with native instruments, the band resuscitates the tired genre, reminding of Led Zeppelin at times. But while Zeppelin mixed English metal with African beats, it’s still more moving to hear a band that uses elements of its own country. By extracting the sounds of the past, Sepultura determines the future direction of metal”

The lesson that you should take from this is, once you have an interesting angle and interest starts to fade, it may be time to take your idea to a whole new level. The key though, is to make sure that it fits in with your artistic vision. Fans (Especially millenials) are jaded, and they can tell if a new spin on an old idea is simply there to make more money. Preserving the honesty and integrity of your band is always important and will allow your group to profit more than any gimmick or angle ever could. If you are trying to find a new angle for your band though the you may want to find something that has room to grow, ideas that could be developed on and taken to strange new earths in the future. Choosing a superficial angle (More on that later) is only going to hurt your sound.

Before we get into what not to do, I’d like to bring up another example or two as proof that an interesting angle can garner fan interest. A lot of you might be saying, “Sure, being from a unique country is all well and good, but there’s music on the market from every country now, and my band is based in a rather wealthy nation!” While this certainly might seem true at first, it’s more a result of a lack of creativity. There are all sorts of unique things you can bring in to draw interest into your band that are not at all gimmicky and in fact uncover strange new musical pastures.

The first example that springs to mind if the Salt Lake City doom/sludge metal band SubRosa. They are immediately interesting, not just because they have three women fronting the group, but also because of their unique set up. There are tons of female fronted doom metal bands these days and the band doesn’t make a big deal about the gender of the musicians, instead SubRosa make their music interesting by using two violinists. This makes their sound eerie and mystical, and certainly unlike any of their peers. Imagine grunge, sludge and doom derived riffs accompanied by violins that mix Schoenberg with Beethoven, that’s the kind of beauty you get out of SubRosa’s most recent output. As Sepultura did, they too took their sound to a new level in a way that made sense artistically. After their first two releases with only one violinist, they decided to bring in another and then went on to make their best work yet. Think about it, not only did adding another violinist improve the band, but also, which is more interesting, a doom band with a violinist? Or a doom band with two violinists?

Another band who managed to generate interest with a unique angle is Nylithia, a band who are blowing up the thrash metal scene right now with a sound they have dubbed “Hyperthrash”. Normally, making up a new genre label for your band comes across as silly and pretentious, making you seem unaware of the scene around you. But when done right, it can give your band a shocking an exciting new angle. This doesn’t necessarily mean fusing genres (Nylithia certainly don’t) but moreover coming up with a creative way to market what makes your sound unique. While it probably should incorporate a part of an existing genres name, it should also reflect the distinct aspects of your sound. This technique is not necessarily for everybody, but when it does work out, it works out big, leaving your band in the position to be views as the founders of a movement.

Now, let’s get on to some of the things you shouldn’t feature when trying to market your band. The first one is probably extreme youth. While it’s great to start putting out music at a young age it shouldn’t be the focal point of the music. Not only does it make some fans disparage your band, it also makes you seem pretentious and begging for attention. On top of that, this gimmick can’t go anywhere. None of us are getting any younger, you can’t say “Our first album came out when we were 18, now we’re younger and more vicious!”. If you do choose to emphasize your age to promote your recording be aware that it’s only a fleeting bump and most people will perceive you as kind of a dolt. Why even Lorde, the 17 year old pop goddess doesn’t seem to make a big deal about her age in any of her promotional material, so why should you?

Other things to avoid are using an ethos or religion as a vehicle to promote your music. While it is totally fine to be a Christian band or a Vegan band (Or whatever ideology you wish to promote), using that to promote the music can take away from the music itself. Do you want to get signed off the strength of your recorded output, or because you haven’t had chocolate in five years? Look at it like this. An average promoter is much more likely to check out a band whose promo line is “Ephraim is a hard rocking four piece from Nevada with a positive Christian message” than “Ephraim is a die hard Christian band from Nevada with a hard rock sound”, simply because for most people the music is separated from the ethos. By keeping the ethos secondary when promoting the band, it’s actually easier to bring people to follow it. One example of this is the legendary sludge metal band Crowbar whose music often has a Christian message, yet they would never be labelled as a Christian band. All of their success comes from having a powerful and honest sound, albeit one that honors Jesus.

 

In short, it’s excellent to have a unique angle and vision when trying to get people interested in your music. However, it has to be honest, and not superficial. Furthermore, it has to let the music speak, hiding the flaws in your sound underneath claims of religion or an ideological war are hardly going to make people want to listen to your music. Instead, try to develop on what makes you different and keep that as a center piece to your sound. Honor your predecessors but prove you want something more. Driving forward in the musical world doesn’t mean cutting all ties, it simply means finding a new way to market your band, don’t reinvent the wheel, just try and improve on it.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Why Your Band Needs an Interesting Angle appeared first on Independent Music Promotions.

Five Artists You NEED To Check Out This Summer

So it’s summer (in most places), which means it’s festival season and you’re most likely heading down to one or two – maybe more, if you’re lucky. You might even be playing some, which is awesome! But who are all these new bands cropping up on all the line ups? Why is so-and-so on literally every single bill you’ve looked at? Sometimes, admittedly, bands don’t really deserve so much credit. But nine times out of ten, there’s a reason there’s such a hype.

If you’re on this site, you’re quite possibly a musician yourself. One of the best music marketing tips you could possibly get is to get to know your scene. Nobody says you have to know every single artist, but there’s no harm in expanding your knowledge. If everyone did the same, fan bases would soon grow and there’d be a whole lot more interaction with music and more profit in it generally. And yes, this would include your own. So, practice what you preach, and check these guys and girls out – in no particular order – for starters…

Marmozets

If you like straight up, female fronted brutality interspersed with melodic, dancey chaos then Marmozets are a band for you. The young (like, ridiculously young) band from Yorkshire, England are a force to be reckoned with. Fronted by Becca MacIntyre, along with some of her brothers (literally) and another set of siblings, this math-slash-alt-rock-bordering-on-metal five piece deny all conventions and are positively unhinged in all the right ways. They’ve already supported loads of International artists, been signed to Roadrunner Records, been asked to play festivals over the other side of the world, and lined up support slots with the comparably tame Taking Back Sunday… all before any of them hit 25. It might make the rest of us reassess our lives a bit, but for them? Who knows what’s next?!

Find Them: At several UK Festivals this year, as well as the prestigious Vans Warped Tour across the USA/Canada. Or head to the Marmozets Facebook

Mozez

While being another (of a few) UK artists representing on this list, Mozez is the only one who’s more of a soul singer. He’s been around a while, first of all with Zero 7, but deserves a mention for two reasons: one being his fantastic voice, the other being his US tour with Nightmares on Wax bringing a new chapter to his career. If you’re into more downtempo, relaxing vibes with your summer sun, Mozez is the guy for you!

Find Him: Head to Mozez’ Website, or catch him on various dates in America until the end of July, including alongside Nightmares on Wax at the awesome The Hudson Project. He’ll also be hitting up Spanish party island Ibiza, and the UK, too. Busy, busy man!

Echosmith

If you haven’t heard Californian Echosmith yet, you’re missing out! With their indie-pop sugar-laced sound, they’re another bunch with a teeny tiny average age, which does nothing except prove that the kids really are alright – make that the ‘cool kids’, the title of one of their catchy tracks. Interestingly, just like Marmozets, these guys are siblings. Keeping it in the family also seems to work, huh.

Find Them: At The Warped Tour, of course, or through their website, here.

Baby Godzilla

Possibly the smallest band on our list, Baby Godzilla are a breath of fresh air in what can sometimes feel like an oversaturated scene. With possibly the coolest band name ever, these four British guys sure live up to its implications as they tear things up with furious, chaotic aggression. Describing themselves as ‘general extreme noise’, you pretty much know what to expect, but the extremities don’t stop there.  Their live show isn’t anything to miss – they manage to stand out whether you’re seeing them for the first or 21st time, and their passion is evident… as is their slight insanity as they literally climb and scale every surface possible! They just played a show with Enter Shikari in southern England, and dare we say it? They managed to outshine those modern rock legends. Watch out everyone, don’t say we didn’t warn you!

Find Them: All around their native UK this summer as they rise to recognition, or at their Facebook Page.

Ghost Town

These Warped Tour darlings are the fifth and final band we’re recommending, and they’re doing pretty good, so it’s time you jumped on board. From the label who brought you Paramore, the Fueled By Ramen Hollywood Party Rockers are doing a pretty good job of making their own name for themselves!

Find Them: Predictably, also on Warped Tour, but also most likely everywhere else in due course. In the meantime, here’s their impressively ‘liked’ Facebook.

 

Of course, there are literally hundreds more, and depending on where you’re from, these lot may not be news to you. But they’re a good starting point, as there’s a fair bit of variation. Just remember – good karma may well be on your way if you give them a chance. Maybe people will give your music a chance, too.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Five Artists You NEED To Check Out This Summer appeared first on Independent Music Promotions.

Interview with Jordannah Elizabeth on her new record

Recently I had the honor of getting Jordannah Elizabeth to answer a few questions for me on her new record via e-mail. In the interview we talk about her career, music, and the inspirations behind her sound. If you like psychedelic folk music then you will love her new record “Bring to the Table.” If you don’t know her already check out one of her songs below, and find her on Facebook: https://www.facebook.com/jordannahe

So what’s going on in the world of Jordannah Elizabeth?

I have a lot going right now. I am releasing a new record this month, and continue to write and publish articles and essays. I am also working on new music. The process has been pretty balanced, but I have a few projects I am working on. I keep a pretty full schedule Can you tell me a little bit about your upcoming record? The new album is called Bring to the Table and I wrote it in Baltimore, Maryland. My long time bandmate and songwriting partner, Jacob Hales travelled from Brooklyn to help me develop the songs, and we started touring a few cities to promote the upcoming album on the east and west coast with Baltimore based cellist, Kate Porter from August to December 2013. The album was recorded in San Francisco, CA in November 2013. I moved to SF from Baltimore the next month. I took a few months off from playing shows after that tour to get settled, and to develop a nonprofit organization I founded called Publik / Private. Now, I am finally ready to release it, and it feels good share it with the world.

How did the songwriting process go?

The songwriting process was very deep. I have described the album in similar ways for a number of interviews, so I think I am at a point where I can describe the process with a little more perspective: I think the album is dark. I am not sure if a lot of people pick up on that. I had to go through a transformation and some dark times to write it, but I don’t mind singing the songs. Bring to the Table is kind of about surreal love and damaged hearts. I don’t identify with the relationships I was in at that time anymore because I am a different person than I was when I wrote it. It feels like it was written a lifetime ago, but the emotions are still valid because I think people can identify with the ideas of difficult love situations, and complicated interpersonal experiences. There are a lot of interesting guitar lines going on in the background that at times sound almost sitar-like.

What inspires these strange sonic landscapes?

The album was written with cello parts. Kate Porter wrote her own cello parts, and Jacob played bass, and he and I switched off on composing rhythm guitar parts. I write the words and the general melody of most of the songs accept for “Cello Experimental Two”, where Kate composed the music and I just wrote the lyrics. I like to collaborate, and allow people to put their personal artistic touches on my songs. The landscapes are just my style I guess.

How is it an evolution from past work?

The songs are written more traditionally. I had been writing far out psych-soul pop songs, and for this album, I wanted to write a folk record. I started covering Bob Dylan songs to get me back into the guitar structure. Even with doing that I ended up writing the songs with simple arpeggio guitar parts. I also was open to having Kate’s cello playing become a focal point.

Is it a hint at a direction you want to develop on?

Slightly. Bring to the Table is a folk soul record, I am interested in making country songs for the new album. Other than that, I think the new music will be very different, but I am honestly so early in the demo process that I cannot say where the music will go.

The cover art is definitely atypical, what inspired you when creating it?

It is just a shot of me fixing my dress. The photo was taken when I wasn’t looking. I just thought it looked very real. I only show my legs in photographs and when I am going to bed. The was shot in Brooklyn, New York at the then closed music venue, Market Hotel by Chrissy Kovacsics. The place was empty and eerie, harboring a couple of artists who were quietly squatting and renovating the place. …and I wore those cowboy boots almost every day for a year.

You call your music “Psychedelic folk soul,” to what extent do drugs impact your music?

YOU I am pretty private about what I do in my personal time. I do have drug references in my music, but very rarely. I think I learned to write psych music because I listen to a lot of music, and I am kind of strange. I love the genre. Nonetheless, if you are a touring, working musician, there may be times where you could not do a drug at all and be surrounded by them. Drugs are just a part of the culture I navigate through.

You are involved in a lot of different projects, would you ever want to be a full time musician?

No. I like to write and edit. I can take the time and plan a long tour, but it would be booked very far in advance. I think I will continue to write and make music, but I would never want it to take away from my work as a journalist, editor and essayist.

What is the next step for your music career?

I guess I will share some music with people, play some shows and continue to put one foot in front of the other. Finish this sentence for me, “I’ve never told this story before and probably shouldn’t but…” I found out I had kidney stones the day before we flew to tour in San Francisco. I was very very sick. It was an interesting experience. I’d like to thank my bandmate, Jacob for being there with me during that time.

What do you love so much about music?

I love a lot of things about music. The main thing I love about it is that it can be healing and transformative to people from all walks of life. Music has a powerful and usually positive effect on human beings. That is what I love about it.

Any final words of wisdom?

I don’t know if I consider myself seasoned enough to really share any wisdom. I have been making music for about 10 years, and the only thing I can say is that you must survive the process of success before you really arrive at a point where you are able to really pay your bills and take care of your family and friends. The music business and the process of becoming a very popular band is a tough and weary road. I don’t blame people for not wanting to keep going when hard times hit like having a friend dying from an overdose, or having your band break up, or being completely poor and being on touring for months at a time. It is not easy, but the reward after many years of hard work with little return can be great, if you’re open to working on your craft and having a professional mindset along with creating your art.

 

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

The post Interview with Jordannah Elizabeth on her new record appeared first on Independent Music Promotions.

Gimmicks: The good, the bad, and the ugly

There’s been a lot of discussion in recent years about the use of a gimmick to make your metal band stand out. Some, like Job For a Cowboy say that this is just being a sell out, who needs a gimmick when the music does the talking? Others claim that a gimmick of some form is actually necessary since it allows your band to differentiate itself from legions of similar groups working just as hard. I believe that the true answer lies somewhere in between, and think that if your gimmick is good enough, and smart enough, then it just might work out for you. But if it isn’t, well then, things could go very wrong for you and your little motley crew.

So, on to the good, the bad, and the ugly gimmicks!

The Good

I’ll admit, I had some difficulty with this one. It’s always seemed to me like the best bands for me are simply the ones that stand out the most musically. Then I thought about it again and stumbled upon a couple of examples that prove a good gimmick can help your band.

Perhaps the most obvious example of a gimmick is the almighty GWAR who may or may not be reuniting after the death of their legendary frontman Dave Brockie. For the uninitiated GWAR is a group who may be more gimmick than band, their unique image and backstory, being aliens who had frozen in Antartica for thousands of years, is certainly better known than their music. Be it in the late Oderus Urungus’s infamous ‘cuttlefish’ codpiece or the bands ridiculously inappropriate stage show, GWAR are the kind of band who make Sunday School teachers tremble in fear.

 

Part of what has always made GWAR so appealing to me as that the band members, when dressed up, never broke character. There are stories of Brockie backstage dressed as Oderus yelling at roadies in character. The vast majority of interviews the band does are in character too. It gives the band a massive appeal. These are guys who seek to be the ultimate rock and roll band after a fashion, spurting fake blood and waving giant plastic swords until you too are decapitated. The lesson to be learned from GWAR is that if you’re going to have a gimmick, take it all the way, and make sure you never acknowledge it.

If you think that this is the sort of thing that could only have grown up as a product of longevity and luck, I encourage you to look at Steel Panther, a relatively new band who are blowing up the rock and metal scene. Though their music is essentially derivative, they, like GWAR have a very clear image and character. Steel Panther actually take it to a different level. Whereas GWAR would occasionally make jokes about their human counterparts, the guys in Steel Panther insist the details behind songs like “17 Girls in a Row” and “Gangbang at the Old Folks Home” are totally true. The band claim to have no lives outside of being rock stars, and the more they pretend, the more this fantasy becomes a reality. In other words, if you paint an extreme enough image, not only will people gravitate towards it, they will help to make even its most ridiculous aspects a reality.

 

The Bad

Now we get to put on the boxing gloves and unveil what makes people hate gimmicks so much. There are more bad gimmicks than I can count, but a few recent ones come to mind. These are the sort of things that make fans not just angry but also frustrated. These groups attempt to gamble with the notion that “All press is good press” and often lose out. There’s a reason some bands are almost universally hated and it is very often simply as a result of a gimmick that only succeeded in pissing folks off. There are two bands who really embody that on the metal scene right now and I think it’s important to look at and analyze their mistakes.

The first is King 810 and their many futile attempts at ‘street cred’ which have only succeeded in impressing thirteen year old boys. Their first press release upon signing tlks about how the band had to learn to ‘fend for themselves’ as children. It paints their town of Flint, Michigan as some sort of anarchist hell well everyone is out to get everyone else. Within three days of the announcement the band posted a picture of a fan who had carved their logo into his leg. (Which won’t be share here as it is NSFW) A short while after they unveiled a new live show featuring ‘armed gangsters’ pretending to guard the stage. If that doesn’t seem tasteless and stupid, I don’t know what is.

The band only exacerbated the dislike for them with recent charges filed against them for “Intent to do Great Bodily Harm”. King 810 seemed to take pride in their arrest. Even going so far as to post their arrest report on Facebook. This gimmick not only made it feel like the label (The rapidly failing Roadrunner) had set up the whole ‘scandal’ but also made it seem like King 810 were trying to hard to be ‘tough guys’. In other words, it established King 810 as yet another silly and bland group who seem to want to be a part of what Axl Rosenberg of Metalsucks as the “Nu metal revival apocalypse”. In other words their gimmick failed because not only did it feel illegitimate it also felt as if the band wants to insult the fans intelligence. There is nothing funny or intellectually stimulating here, only ‘tough guy’ poserdom by people who wish they could have the same street cred as bands like the Cro Mags and Bad Brains.

Another example of a ‘bad gimmick’ is the latest stunt from the deathcore band Upon A Burning Body. The band claimed their frontman Danny Leal had gone missing after posting a few mysterious tweets. Right away holes were found in the story, no missing person report had been filed and it took the band a surprisingly long time to figure out that Leal had disappeared. Within hours of the story breaking a rumor was spread that this was all a publicity stunt. Turns out the rumor was right and it was. This is another case of how if a gimmick crosses a line or is especially stupid it will only generate bad press for your band. GWAR proved that it’s okay if the music and imagery is offensive, but it’s definitely not appropriate to joke about one of your band members possibly being dead. Personally, I lost even more respect for the band when their label, Prosthetic Records came out and said they had been given no prior warning. So not only did the band scare their fans, they made their label believe that one of their biggest bands had lost a key member seemingly out of the blue.

In other words, it would seem that while i’ts okay to offend people with extreme imagery, there is also a certain level of maturity required. For people who have been following their local scene for a while the antics of King 810 should seem totally mundane and the way that they made a big deal of getting arrested is clearly in bad taste. Upon A Burning Body also seemed to totally miss the point of a gimmick, causing genuine concern and then almost mocking the fans by showing that in the end it was all a publicity stunt. So, if a gimmick leaves your fans offended, frustrated, or simply bored, well then, maybe it isn’t a gimmick you should be using.

The Ugly

Now here we are going to start walking a fine line. I wanted to take a minute to talk about bands that use their (almost always female) singer’s sexuality in order to sell more records. There are entire subgenres of metal that seem to be okay with this institutionalized sexism. Symphonic metal in particular seems to be a haven for large breasted white women wailing into a microphone while the camera pans over their chests.

I’d like to take a moment for a drinking game invented by Axl Rosenberg of Metalsucks to illustrate my point. I want you to take a shot every time the director pans down onto the singers boobs, up onto the singers boobs, or simply reframes the shot, so you can see the singers boobs.

Now that you might die of alcohol poisioning let me make my point. While it’s okay to celebrate sexuality in music, doesn’t it feel a little wrong when you decide to hide your music behind your singers double D’s? There is definitely a place in music for femininity, but in most cases it seems silly to make that the counterpoint. Some of my favorite bands today, like SubRosa, whose latest record More Constant Than The Gods was billed as the second best record of 2013 across all genres by Sputnik Music, celebrate their femininity without trying to sell their bodies. If the band is trying to sell itself on the fact that dudes are going to want to sleep with the singer, you’re going to lose  a lot of respect. If the band is selling itself on good music and hard work and happens to have a singer dudes want to sleep with, well then, no one can blame you for that.

Long story short, I, and many of my peers in the music industry are more than a little frustrated with the needless sexism within the industry, lifting up women as sex objects. If you take part in that and try to use it to promote your band of course you are not going to get the respect you want and probably deserve. Instead people will be drawn to the band by pure sexuality and while that may sell albums, does it really lead to artistic satisfaction?  Lots of guys will support these kind of bands, but personally I just don’t see the point. Why listen to Huntress when you have far better, less sexualized options like Sister Sin. As Paul from Conan put it “I’m all for women getting their boobs out, but when they use it to further their position in an industry that should be unrelated it’s utter bullshit”.

Conclusions 

So what does this mean for you, a musician in an independent band? Wel, it means if you’re going to have a gimmick choose it with care. Remember, every day bands are signed that get by on just the music. Check out the promo shots for a group like Unscarred, through a clear image that is not at all gimmicky they are still able to get attention from lots of blogs and have some great options for their debut CD. As Nate Carson of Witch Mountain and Nanotear Booking once told me “Two things pay off in the music industry, longevity and luck”. Maybe there is no need for gimmicks, maybe, if we just keep it pure and honest we will always triumph.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

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Fear and Loathing in Clisson-Coming of Age in the Pits of Hell: Part 5

Hellfest 2014. One of the biggest heavy metal festivals of all time. This year there would be such greats playing as Iron Maiden, Slayer, Carcass, and Black Sabbath. Suffice to say, the French metal scene was aflutter with anticipation for months on end. They were preparing what was surely to be the greatest heavy metal event the nation had ever seen. I was lucky enough to work for the festival, this along with my previous work with my heavy metal blog gave me an incredible level of access. I decided to take this intimate knowledge of the festival to divulge a story about Hellfest, not just another review.

Read Part 1 Here, Part 2 Here, Part 3 Here, and Part 4 Here

 

Day 5: The journey home

Now usually people say that their homeward journey was boring and defined by a massive hangover. Not me, I’m far too stupid for it to go that simply. See, my friends and I ended up sneaking onto a train going in the wrong direction and going a hundred kilometers in the wrong direction. Suddenly, we found ourselves stranded in the small town of Belleville, with no train due for four hours. We had not even a hundred Euros between us and no clue how to get to somewhere that could take us to Nantes and then Paris. Realizing there was no attendant in the train station and all of our phones were running out of minutes, and there was no way we would find someone to give us a ride we realized we were screwed. Or so it seemed.

 

Somehow we were able to call a taxi, we thought we had just enough money to cover it. As the taxi arrived we realized that we might get blown off for smelling of beer and not having showered in days. Yet Thor smiled upon us, the driver had a son our age and her boss had been to Hellfest. She knew she could trust metal dudes and that despite our alcoholic despair we meant no harm. The kind woman even thought it was funny that we had barely eaten for the past week, having instead (As you well know by now) indulged in vast amounts of alcohol, she said it reminded her of her own son. She took us to the nearest large station and even gave us a small discount on our taxi fare, things were looking up for our intrepid trio.

Now, we had to sneak past security and get onto this next train. With no place to sit, we were forced to try and find a spot in an area that looked like it was normally reserved for baggage. Surrounded by hobos and their ilk I realized we had truly become hitchhikers. Why, that night my only prepared lodging was a squat. Electro-space hippies getting dirty looks from paying passengers, such was the sorry state of our existence. If that’s not coming of age, I don’t know what is. Here we were in the middle of nowhere, struggling to find our way out of a tight spot, with no 100% guarantee of a safe place to sleep on the other side. But perhaps this was some of that Hellfest magic left over. We were finding our way back from the middle of nowhere, we were young men proving ourselves, that we could triumph in the face of all adversity. Sure we didn’t know each other before Thursday, and sure we all came from a different far flung corner of the world, yet somehow bonds greater than we could imagine had united us, trying to find a way out. We may not have hunting expeditions to prove our worth, nor do we have fights for honor (Usually), but we have this, hung over misadventures that test resourcefulness and show that perhaps mankind isn’t as screwed as we always say it is.

The adventure still wasn’t over though, we know had to smuggle ourselves on board yet another train for a two and half hour ride from Nantes to Paris. My friend Dennis and I had a conversation about politics while Tai slept. We were never even ticketed, feigning sleep every time the officer came by. Technically we had tickets, but they were for an earlier train. We had come so far we didn’t want to risk getting kicked off, and we didn’t have the money to pay the fine. So we crossed our fingers and hoped for the best, and somehow, we made it through. On top of that, there were definitely some illicit substances being transported, and quite frankly, smuggling products which shall remain unnamed for 600 kilometers through the heart of France is not something I needed to be busted for in my hung over state.

Perhaps the most notable thing that happened on our ride home was the middle aged woman next to me asking me about metal culture. She was shocked at how quiet and respectful we were. She also was impressed at how none of us had our cell phones out. As I explained some of the basic tenets of metal culture to a woman who had been kind enough to show an interest I started to realize something. As we had been reminded on the first day of our trip: metal is one retarded screwed up family, and I like it this way. Here we were, bold, drunk  and on the verge of discovery. Maybe we would never find the American dream, but we certainly could unravel the sacred secrets and paradigms that define so much of our existence.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

Fear and Loathing in Clisson-Coming of Age in the Pits of Hell: Part 4

Hellfest 2014. One of the biggest heavy metal festivals of all time. This year there would be such greats playing as Iron Maiden, Slayer, Carcass, and Black Sabbath. Suffice to say, the French metal scene was aflutter with anticipation for months on end. They were preparing what was surely to be the greatest heavy metal event the nation had ever seen. I was lucky enough to work for the festival, this along with my previous work with my heavy metal blog gave me an incredible level of access. I decided to take this intimate knowledge of the festival to divulge a story about Hellfest, not just another review.

Read Part 1 Here, Part 2 Here, and Part 3 Here

Day 4-Hellfest comes to an end

So now it was time for the third and final day of what had proven to be a truly momentous occasion. I woke up fairly early and stuffed on my bright yellow Satan’s Satyrs shirt before I went down to grab some tea. Today I was going to start with Satans Satyrs and wind up with the almighty Black Sabbath, what more could a guy ask for? The day started hard and fast, people knew this would be their last chance to party before the long road home and we were all pretty pumped for the madness to come.

 

Satan’s Satyrs played a simply stellar set as per usual. Their fun brand of occult old school rock and roll is never to be missed. These guys really understand what it’s all about and sets like this one allow them to stand tall, masters of a world that they have founded for themselves. Steeped deep in the worship of the 60s heavy scene it was impossible to tell the band hadn’t rehearsed in a few weeks. They blasted forward with a stunning live energy and seemed to get the crowd going. KK of the popular French groove metal act Trepalium fell in love at first site, to the point of providing the bands guitarist with a much sought after joint.

 

Once they were done playing we sat down for an interview (Yes, I interviewed a TON of people this weekend) and once more we got a chance to delve into what makes this group so special. They have a clear understanding of heavy music as a cosmic force and this really lets them dig in and capture the hearts of the fans. The combination of virile youthful energy with the magic of the 70s is certainly a lot to be reckoned with. Satans Satyrs understand rock and roll, and as I ate lunch with the bands drummer, Steve, I started to realize just how obsessed these kids are! It’s truly impressive. Not a lot of bands are willing to go back as far and have such a manic dedication to a genre that so many of their peers seem to disregard.

Once lunch was finished I ran over to see Crowbar on the Mainstage 1. Their set was loud and riff heavy as usual. These guys really know how to play their instruments and watching them take over the stage for the second time in two weeks was an honor. Kirk Windstein is not just a showman, but a veritable genius. He understands what sludge metal is meant to be all about, and watching him command a crowd is always a treat. His large arm gestures and dominating voice make you feel immediately engaged. The fact that he remembered me was also really cool and once more set my heart aflutter. As fans screamed along to the set closer, the classic Planets Collide it became pretty clear, Crowbar may be from New Orleans, but they certainly have a solid future touring the globe for years to come.

 

After a moment of confusion with my program, I darted over to watch Powerwolf play. Now, if anyone is a true festival band, it’s these guys. Their backdrop is huge and their stage show bombastic. Watching their antics to rally on the crowd as their frontman cried out encouragement in a heavy German accent was a treat.  What I didn’t know was that their keyboardist also had a prominent part in the live show, encouraging epic cries and general metal madness. Powerwolf were the second band I had ever interviewed, so watching thousands of people sing along to their songs was really cool. These guys really know how to put on a show and it makes me wish they toured the US more. But as is, Powerwolf seem content to make a living as a more bombastic version of Ghost, and frankly, I’m okay with that, the metal scene needs that kind of thing in order to thrive.

Repulsion provided another moment of that good old Hellfest magic. This time I watched from the side of the stage with members of Witch Mountain, Subrosa (And got yet another hug from Rebecca) and Satan’s Satyrs. Three of my favorite bands, all of whom knew and wanted to hang out with me. You don’t get cooler than that. As for Repulsion, their set was wonderfully violent, Scott Carlson is almost an American Lemmy. He roars out above the crowd with a slightly drunken swagger adding a very rock and roll feel to the music. The crazed speed of this group is not something to be forgotten and proved that Repulsion have still got it. A special highlight was when they dedicated a song to Satan’s Satyrs, the members of which seemed to be really touched by the honor. In short, Repulsion was furious, brutal, and really everything I could have expected from a triumphant old school death metal band.

 

I had a rather special experience watching Dark Angel play, proving once again that it pays off to be nice to people I got to watch the band from the photo pit for their entire set, despite not having a camera. Turns out, I had previously shared a beer with the guy in charge of managing the photo pit and he was totally cool with me staying for the duration. This really allowed me to get a good view on the triumph that was the Dark Angel set. As they stormed through classics I was shocked at how hard Gene Simmons hits the drums. The vocal lines were stellar and the guitars vicious, Dark Angel haven’t lost their spark. Watching a band this legendary play fills me with a strange mix of emotions, joy at having gotten to see them, but also sadness that I didn’t know them in their heyday, and that they too shall soon pass into the void. Is this the wisdom of coming of age or simply the ramblings of a drunken teenager? I’m still not quite sure.

I had a bit of a wait now before the next group I wanted to see. I made my way over to the VIP area and sat down next to Justin from Electric Wizard as he smoked weed out of a pipe. All of the doom and stoner metal bands seemed to be together, a sort of garden party from hell. Suddenly I had been accepted into this very exclusive and noble group, if this wasn’t a coming of age I don’t know what is. I was almost brought to tears as I sat contemplating how much great music all of the people around me had put out. How do you even cope with an honor of this scale? Fortunately I didn’t have to wonder too long because it was time for Emperor.

After trying to sneak backstage to Emperor with a friend in a band who shall remained unnamed for legal reasons I ended up being kicked out and then creeping around out front in an attempt to get a decent spot to see Emperor. In the end I was almost in the front row as Ihsahn roared onto the stage and led the band through all of In The Nightside Eclipse. My one disappointment was that Ihsahn seemed to encourage the mosh pit, which seems a little odd for a guy who is supposed to be a super-serious Satanist. Seriously though, moshing at black metal shows? Really? Regardless, Emperor where probably the best live black metal band that I have ever seen, and I’ve seen a lot. Their pyro was spot on and the playing incredibly tight. There was a very transcendent feel to their gig, and standing there as the masses screamed along was glorious. These guys have not lost their spark, and it’s easy to remember why In The Nightside Eclipse is viewed as an all time classic.

Next it was finally time for the highlight of the whole weekend, Black Sabbath. I ran about, trying to score some sort of VIP access and tragically falling. I finally made my way out to a semi-decent spot in the crowd, but was still pretty far away. Regardless, I was crying by the third song. Sure it’s not the full lineup. Sure Ozzy’s voice isn’t always exactly spot on. But that’s not what really matters to me. It’s watching those guys deliver some truly colossal riffs and beautifully memorable heavy metal that will never be forgotten. Things ratcheted up to another level of madness when I turned around and noticed that I was standing next to Justin from Electric Wizard. This was perhaps the culmination of the weekends magic, watching my favorite band ever, with the singer of my favorite ever stoner metal band, who upon noticing me turned and said “Hey Matt, have you got any drugs?”

 

The emotions I felt after Sabbath were mixed to say the least. I was filled with joy at finally having seen the band, and I felt like I had gotten to take part in something larger than myself. That being said, if the band wraps up now, I’ll be disappointed I only got to see them once. There are so many other tracks I need to see the band play live. Even though they played a lot of classics (And only two songs off 13!) there is always more Sabbath to be seen. So was it the best gig of my life? Probably not. But will I remember it forever? I like to think I will. These are the things that stick with you, heavy metal magic, and dedication to your favorite bands. There is no group in the world who compare to Black Sabbath, and perhaps it’s better that way.

And now it was after party time! I got down to the artist lodges early enough to hang out with Conan for a little bit before they had to pull out to go on home. Paul’s final words to me were that I was “A good lad” and should “keep in touch” hugs all around, but I was sad to see them go. That’s what happens when you’re friends with the rock stars, at the end of the day, no matter how well you hit it off, you always have to go home. This was a major learning moment for me, coming of age in this strange world of alcohol, narcotics and doom metal is not for everybody, but it’s certainly interesting. The lessons learned here cannot be found anywhere else, but then again, who else but a doom metal freak would find these things applicable to daily life?

I then went back to the VIP area, stumbling around for some friends and reflecting on the changes I was going through. It was already Monday morning and in less than 36 hours I would be moved to America. It created a weird feeling, when would I see these people again? Not just dudes in bands, but also my friends from France. These are the kind of things that keep me up at night. I may very well have learned the most about myself at this festival simply by wandering around alone, reflecting on the sublime sadness that defines so much of our existence.

 

I finally bump into the guys from Downfall of Gaia and things started to rage. By this point my liver was shot, and I could barely drink. The Downfall of Gaia guys were hanging out with a seemingly insane girl from Belgium who kept threatening those around her. It was like some sort of surreal communion to cap off a weekend that could not have been better. What was I to think of it, and what would I do next? After a weekend like this how do you recover? After saying good night to those guys I wandered back to my tent, making friends with a security guard along the way. I fell asleep, aware that Hellfest was now truly over, and for tomorrow’s hangover there would be no heavy metal redemption.

 

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

Fear and Loathing in Clisson-Coming of Age in the Pits of Hell: Part 3

Hellfest 2014. One of the biggest heavy metal festivals of all time. This year there would be such greats playing as Iron Maiden, Slayer, Carcass, and Black Sabbath. Suffice to say, the French metal scene was aflutter with anticipation for months on end. They were preparing what was surely to be the greatest heavy metal event the nation had ever seen. I was lucky enough to work for the festival, this along with my previous work with my heavy metal blog gave me an incredible level of access. I decided to take this intimate knowledge of the festival to divulge a story about Hellfest, not just another review.

Read part one HERE and part two HERE

Day 3-The best day of my life?

For a day that will probably stick with me forever, it certainly took a while to get started. The first band I wanted to see, Subrosa, didn’t start until 2. So I took the intervening time to go join up with my friends in Witch Mountain (Who would be playing later in the day) and Conan. It was around this time that I discovered that I could steal wine from the catering tent and not be yelled at for it. This, along with the fact that the catering tent was right next to the Valley stage where all of my favorite doom metal bands were hanging out, made for a very pleasant added feature to an already glorious weekend. If I wasn’t inebriated enough at the start, things would only get crazier from here on out. A pleasant haze settled over me as I prepared to watch the days shows.

Meeting Subrosa before their set was truly an honor. The girls and guys in the band are all simply wonderful people. Right away, I really hit it off with Rebecca, the bands singer and vocalist, so much so that she made me an origami organ out of a flyer I had on hand. I know I’m not supposed to make friends with the musicians, but in many cases, it’s exceedingly difficult, damn objectivity, isn’t it simply a byproduct of a plastic culture? Sarah appreciated the red wine I scored for her, proving once again that alcohol does in fact make you more friends. As the band got ready to go on I prepared myself for the sort of heavy metal redemption that comes but rarely. More Constant Than Gods was one of my favorite records of 2013 and I couldn’t see myself not loving every minute of their show.

Their set was simply transcendent, among the best that I saw at Hellfest. Seeing this band that I have loved so much for so long and then getting to hang out with them afterwards…words cannot express the joy and honor I had felt at getting this opportunity. Their set was fairly long, and their closer, the instant classic, The Usher, spirited me away to a mysterious world. Musically these guys are incredibly tight, their bottom end roars mightily and the crazed violin playing of Kim and Sarah is both non-traditional and strangely magnificent. It’s a sort of mix of Schoenberg with Beethoven, experimental, yet also very easy to engage with. I feel like these guys are even heavier live than on the record and all of the best elements of their sound are emphasized. The fact that they have a US tour lined up in just a few weeks has got me incredibly excited.

While Subrosa was loading out I sat down with Mark from Downfall of Gaia (A crazy story featuring him will show up shortly, don’t worry) and Paul from Conan to talk about being a metal drummer. This was a very unique interview and I found it to be incredibly interesting. Once this one was wrapped up it was time to talk to the incredibly sweet Rebecca from Subrosa, about spirituality in her music and the strangely holy triumph that defines so much of her bands sound. I still had a ton of interviews scheduled to go on the day and I had already done two of the most interesting in my life, where was this madness heading? Clearly I had to drink up.

Next for me was checking out Witch Mountain on the same stage. I had seen these guys only 10 days prior, but it was still an absolute privilege to get to watch them again. Uta Plotkin has a way of laying into it with her voice that no other doom metal vocalist can touch. The way she leans back and lets rip is truly something to be reckoned with. It gives the music a very profound authenticity, the sort of thing that really hearkens back to the traditional Black Sabbath-oriented roots of the band. Otherwise, these guys were magnificently tight, Rob’s guitar playing simply ripped as per usual and Charles bass created a lively and engaging bottom end. Meanwhile, Nate played shirtless (hot!) and my position from the side of the stage really granted me the chance to get a grasp on the incredible level of skill this guy brings behind the kit, certainly a metal master for the masses.

By now it was almost time for my scheduled interview with Carcass, so I made my way on down to the press tent, an interview the gals from Subrosa seemed especially interested to hear about. Somehow though, Bill Steer and Jeff Walker had disappeared, or at least, no one could locate them to do my interview. Perhaps I reeked too much of wine to be granted the interview, I did after all steal a beer from the artist fridge while standing in front of their label representative. On the plus side though I finally met Gunnar from Season of Mist, and then almost immediately after was introduced by him to my longtime hero Luc Lemay of Gorguts. Having one of my favorite musicians ever be told that I’m a “Great guy” by a man who works for my favorite record label is simply one of the many surreal and magical moments that dominated my Hellfest experience, and perhaps what made this particular weekend so special for me.

At this point I got a text from my buddy Igor Cavalera (Max’s son, not his brother) and I made my way to the artist lodgings. I had another dose of Hellfest magic when I walked in and found my mentor Gloria Cavalera standing right there. After a brief chat she gave me directions over to the Soulfly tour bus. Igor Cavalera let me on and we got to talking with his girlfriend Aggy. Much to my surprise, she was familiar with the obscure doom metal band Bloodmoon, (Whose t-shirt I had been sporting) like I said, Hellfest is magic. After a few minutes we all got together to do an interview with all of the Cavalera boys (Finally getting to meet Richie Cavalera from Incite and Zyon was of course an honor) by this point I was starting to get tired out, and little did I know the best was yet to come.

I made my way to the side of the stage for Hatebreed. Let me tell you, there is nothing quite like watching one of your favorite bands from less than 10 feet away with thousands of people in front of you. The band delivered an incredible set, and so my first time seeing them cemented their place as one of my all time favorite acts. The raw positive aggression and primitive destructive force of some of these songs is certainly something that few modern musicians can compare too. On top of that, the sheer energy that Jamey Jasta brings to the stage is utterly unreal. How can this guy have so much power behind his music and be so damn creative? How many other men in metal can be half as busy as him and with half as much success? Hatebreed is a special band, and the friendliness of the members (I also met Chris and Matt) really left me in awe. I have long felt that Hatebreed is a force of good in this turbulent world, and seeing them at Hellfest only confirmed this belief.

The highlight though came shortly after the show when I got the chance to interview Jasta, who, if you didn’t pick up on it earlier, is kind of my hero. His humility and sense of honor left me in awe, this man is not a rock star, this man is a legend, but a legend who is both approachable and kind. A man who stands above the rest because not only is he true to this word, he is one of the friendliest and most honest people in metal. After the interview he gave me a hug and I almost started to cry, this is the sort of guy who I simply cannot speak highly enough of, and meeting him certainly felt like a coming of age moment if nothing else. If somebody had told me a week before I would interview him I would never have believed them. As Jasta himself said “Take it all in man!”

Of course, by this time, Soulfly had just started, so I darted over to the Mainstage 1, now with even more people gathered out front. The band played a tight set, just as they had when I last saw them in March and it left me impressed with the incredible endurance of Max Cavalera. Playing a set loaded with Soulfly and Sepultura classics, these guys were a blast to watch. A special highlight for me was when Max invited his children (and my friends!) Igor and Richie on stage to perform Revengenced with him, a true family moment. It was that good old Hellfest magic in the works again. As I stood there, watching this incredible performance featuring people I chat with regularly, I looked to my right and saw Gloria Cavalera and Aggie. Then I look left, and who is standing there but Mark Osogueda, the singer of Death Angel. What have I ever done to merit a blessing like this? What kind of strange world has been created around me that this sort of glorious magic could even happen? These are the things that made my Hellfest experience simply otherworldly, and as I write this, on my way back to America I’m still left trying to understand what the hell happened.

Of course, I still had bands to see, on this longest day of the year (It was the solstice after all) the sun had yet to set! Of course, there was still a while yet before the final highlight of the night was due on, so I once again went exploring. There were simply so many cool and interesting people hanging around the festival it was impossible to be bored. In just one brief walk I bumped into Bjorn from Kvelertak and John from Trollfest. At one point I even got taken to sit down and chat with a bunch of industry bigwigs, because, why not? Why, I even met the manager of King Diamond and Emperor. The fact that all of these thousands of people were gathered together for heavy metal blew my mind, and demonstrated the incredible triumph of this festival.

 

It was late now, and after a brief misadventure with Igor Cavalera (we needed to get a car for Max so he could go to see Nile in privacy) I was ready to check out Phil Anselmo & The Illegals, the aforementioned highlight of the night. Watching from the side of the Valley stage with Paul from Conan and a couple dudes from Witch Mountain and Subrosa was simply unreal. Here I was, standing with some of my favorite musicians and I was not two feet away from one of the most important men in the history of metal. As us fans on the side of the stage started to push our way closer to the fore the tour manager, Martin, got gradually more pissed off, but it was worth it, all shall be done in the name of metal!

 

As for the music? Well, it was simply incredible. I had forgotten how wonderfully ugly Phil Anselmo’s & The Illegals is meant to sound, and the frightening grindcore blasts that roared out of the four piece was insane. There were a lot of interesting highlights too. Particularly interesting were a few Superjoint Ritual covers, a band whose material I thought I would never see be played live. Another special moment was when Phil turned around and gave a huge hug to Paul, who had just been telling me how much he admired Mr. Anselmo. The emotion in his face during that hug was beautiful, it was clearly a dream come true for him. The culmination of the set was a reprise of the Pantera classic “A New Level” leaving all of us punters with a healthy dose of Pantera in our veins. As Phil trudged off stage I got a chance to reach out and touch that sacred flesh, honor the almighty one, a man who cannot be reckoned with.

 

My heart buzzing with joy I went over to the artist lodge where I got to interview both Steven and Marzi, Phil’s bassist and guitarist, in separate interviews. Marzi’s interview was a special highlight. Not only was he a great guy (As well as a fan of my pretend big sister, Nelly, and her band Unscarred) he gave a great interview, after which he declared us brothers. How’s that as a way to end your night? Then it was time for a quick trip to the media team tent to do another translation then fell asleep back in my own tent. My second day of Hellfest had proven to be probably the greatest day of my life.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.

Fear and Loathing in Clisson-Coming of Age in the Pits of Hell: Part 2

Hellfest 2014. One of the biggest heavy metal festivals of all time. This year there would be such greats playing as Iron Maiden, Slayer, Carcass, and Black Sabbath. Suffice to say, the French metal scene was aflutter with anticipation for months on end. They were preparing what was surely to be the greatest heavy metal event the nation had ever seen. I was lucky enough to work for the festival, this along with my previous work with my heavy metal blog gave me an incredible level of access. I decided to take this intimate knowledge of the festival to divulge a story about Hellfest, not just another review.

Read Part 1 Here

Day 2-So it Begins

Turns out, the night before I had somehow lost my Slayer sweatshirt while wandering around drunk, and so I was almost dead before the festival even started. Hypothermia is never a fun experience, and trying to figure out how to stay warm when you can barely walk straight isn’t always easy. Suffice to say, waking up with chattering teeth and a monster hangover is never a good start to a day. Nonetheless, I somehow made it out of my tent and wandered over to Conan, wanting to show up early so I could talk to the guys, we had really hit it off when we first hung out in Paris. On this left hand path I seemed to bump into a number of friends, and those who hurt less than I seemed to find my state most amusing. The oppressive recovery from this hangover would not be easy. Yet I still had hope, my journey to hell was finally ready to start.

Start it did, Conan delivered a simply killer set, loud and passionate. There were two key differences from the last time I had seen them. Their set time was pretty much halved and they actually had their normal lineup. The sheer power communicated in Pauls blasts and Jons roaring vocals mixed in with drop tuned guitar riffs is a force to be reckoned with. Even if you don’t usually like doom metal these guys are a must-see. The grunge based attack of their songs is incredibly human and really allows the band to rise up and shine, masters of their own reality. Conan speak to the humanity within us all, using fantasy lyrics to construct strange earths that leave the listener contemplating the world around them. This is the music of men who seek to open our minds about a world that wishes we’d shut up and conform.

After the set I sat down with Jon for a quick interview and started to really get in to the magic of his music, as well as the magic of Hellfest. These guys are not just musicians, but pioneers, they are pushing boundaries I didn’t even know existed. Hanging out with them (As I did for the whole weekend) taught me interesting new things about music and life, allowing me to find out things about myself that I had previously never known. Spirits connecting across time and generations bonded by an otherworldly force. This is what heavy metal is all about, learning about not just who you are, but who you want to be, and these are guys who I am certainly using as models for exactly that. Does that make me a sappy romantic? Probably. But if I’m going to be a romantic it might as well be over one of the best bands on the scene today.

Suddenly, it was time for Toxic Holocaust. Now, I’ve always believed that thrash metal under the sun is the best kind of thrash metal, and these guys certainly seemed to support that notion. By now I had kicked back a few, and that all-too familiar buzz started to consume my brain. The rapid metal attack of Toxic Holocaust is not to be missed, and it speaks to the true magic of thrash. Bring in people smoking weed in the mosh pit and you get a sense for the fast times and desperate measures that were crashing down around me. Something about songs like 666 prove the beauty of a genre that has helped to define metal for so long. While I wasn’t too familiar with the bands recorded output, seeing them live certainly proved to me that these dudes are musicians who understand what the genre is all about. And while many modern purveyors are simply following a trend I get the distinct impression that Toxic Holocaust are bringing something new and exciting while simultaneously pleasing old school fans. A sort of communion of blood, sweat and mosh pits, how many modern thrash acts can claim to really do that?

I had a bit of a break now between bands who I wanted to see, so I made my way over to the backstage area for MOD to do another interview. These guys have long been friends of mine, and their buddy Mike, who I came to Hellfest with, actually works with their guitarist, and was a childhood friend of the drummer (Who are incidentally, both named Mike). Seeing as the band was preparing to play in front of more than 10,000 people, their biggest show yet, tensions were running high. Though the guys were excited, it seemed like MOD’s set would be life changing for most of the members and they knew that it could very well define the future of the band.

So perhaps it is fitting that when MOD finally did hit the Mainstage 2 around four in the afternoon the circle pit they kicked off spawned a dust storm that towered a hundred feet above the crowds. Their set was filled with both MOD and SOD classics, proving that these guys deserve their place as legends. For an older guy, Billy Milano has a stunning delivery, his guttural growls reach into a bottom end that even guys like Chris Barnes can have difficulty with. Watching this through my sun and alcohol addled brain started to make me realize the bigger picture behidn this band. MOD reigned triumphant, playing in front of more people than they ever had before and giving hard proof that one day Milano may triumph over his sworn nemesis, Scott Ian. This man may have a few screws loose, but perhaps he put it best when he cried out“This one goes out to Scott Ian” before breaking into a crazed rendition of the SOD track “Kill Yourself”.

After MOD wrapped up, I ran with Mike to the Temple stage to be able to watch Impaled Nazarene. Despite being hindered by a few technical issues, Impaled Nazarene played with an impressive energy. Their blazing black metal attack was certainly something to be reckoned with and the inhuman shrieks of the bands vocalist left me in awe of a veritable black metal mega-force. This is the kind of band who understands the true darkness of the genre and use it to blaze forward, commanding the stage and cracking skulls all around. As the mosh pit raged in front of me, it was easy to feel in touch with those terrifying atavistic forces that drive a genre that seems determined to annihilate the church. 

Evening still had yet to fall, but there wasn’t much I wanted to see before Iron Maiden started. I went around the VIP area and bumped in to old friends. I even stumbled across the guys from Satan’s Satyrs, excited for what was to be their biggest performance yet when they would take the stage on Sunday. As we got closer to the time for the New Wave of British Heavy Metal’s most legendary band, I also took a chance to check out the food, which was surprisingly good, and had a remarkable variety of options. This weekend was only going to get better, and after being exposed to the VIP area, I knew that my decadent heavy metal partying would be welcome with open arms.

Right before Iron Maiden took the stage I somehow snuck into the VIP Plus area, being granted access to an open bar and a better view on the Mainstage 1. I was one of few long hairs in this crowded deck and almost certainly the only one to have seen Iron Maiden before. As I talked to the people around me wearing collared shirts and nicely combed hair, I realized these people didn’t really ‘get’ metal. I wasn’t entirely sure what this breed were doing here, and so I solved this conundrum the way I solve most of my problems, getting drunker. Anyway, the band stormed onto the stage and played a great set, what more could you want from these guys? Iron Maiden have always understood how to rip up a stage and capture the hearts and minds of the audience. So what if they played a pretty much identical set list as compared to when I saw them last year? It’s still Iron Maiden, and they will never fail, so up the Irons! A particular highlight was Bruce Dickinson announcing the score of the ongoing soccer match between France and Switzerland. It was even more exciting as the French team stormed forth to win 5-2, a fact that kept the crowd going and bodies flying all night long.

Finally it was time to see Slayer, one of my favorite bands ever (I wear my Slayer Eagle belt buckle, Jeff, every day of the year) and a band I had never seen before. Their set was but an hour long, yet it was incredibly satisfying. Sure they only have two original members left but these guys still bring the mosh in a way no other band in the world can. Slayer are Slayer because they have a profound and very fundamental understanding of thrash metal. No one can mess with their attack, Kerry King would just stomp them out. So while, being so far from the stage made it a bit underwhelming, these guys certainly put together an interesting and exciting set list which I will not soon forget. As they closed with my perennial favorite, Angel of Death, I realized that I had truly found my true calling in hell, to thrash ’til death. 

So my first day of Hellfest came to a close. I had seen two of my favorite bands ever along with four more who I very much adore. Of course, things were only set to get better, and seeing all the interviews I had scheduled for the next day I figure I should probably get some form of sleep. After writing a translation for the Hellfest website (Which I was too drunk to remember writing, oh well) I wandered back and hit the hay, wondering what kind of treasures the next day in hell would bring me.

As featured on Indie-music.com, Examiner.com, I Am Entertainment Magazine, Antimusic.com, and recommended by countless music publications, “Your Band Is A Virus! Expanded Edition” is the ultimate music marketing guide for serious independent musicians and bands. Get your copy now.