THE TRUTH WILL SET YOU

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DECEMBER 07 - JANUARY 08
 SHOOTING GALLERY 8
TO THE POINT WITH HENRY ROLLINS 10
21 AND UNDER WITH CHUCK D 12
INKSPLOITATION 14
STYLES P
Supa Gangsta
HI-TEK
Hi-Teknology 3
HELL RELL
For The Hell Of It
40 CAL
Broken Safety 2
21 AND UNDER WITH OTEP 16
(Extraordinary Gentleman)
In Stores December 4th
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TALES FROM THE EAST SIDE 22
ABORTIST RANK AND FILE 30

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 The Apocalympics are upon us and the city’s new Gang Task Force is a tad too late:
According to the VPD and the rest of the 2010 Olympic® squad, our streets are contaminated with just a minor fraction of the notorious MS-13 street
gangs that are predominately centralized in Southern California.

Comparatively speaking, our ameliorate drug laws are a warm welcome to the slew of young Hondurans filtering through Vancouver ...if they make it.

A treacherous journey begins in their homeland venturing north all the while enduring pain and suffering from police, accidents involving freight trains
and rival gangs. Locals seem to have an impression that the “Blinged-out Vatos” on the corner are having a heyday. Trust us; that pair of Nike’s may be
the first he/she may have ever owned. The women are not too far off either. Like a scene out of the docu-drama “Mi Vida Loca” the girls also pack heat,
attitude and take no shit from anyone.

With such a thriving drug culture in Vancouver, it is a formal invitation to those who lay in wait. Two types of dealers circle the downtown core which the
press fail to mention that bring the semi-sophisticated dealer who has “worker/addicts’ holding and peddling the dope, accounting for all the money and
in return receiver on average “1 on 10-14” meaning for every 10-14 rocks/spitballs of coke or heroin he she sells, they get one.

By the end of the shift (which can last up to 16-18 hours) they have smoked their pay before they‘ve even finished. Distraught, broke, tired and sick, they
seek out the next dealer on the block to get a chance at losing their lives….all over again.

The other is the “Mule” - generally a Honduran male, who is forced to pack about 60-80 rocks (wrapped) in his mouth and stand “further” from the big
boys, usually around the Pigeon Park area at Hastings and Carrell. This is by far the lower grade cocaine and is frequently cut with heroin in order to keep
the user coming back specifically to said dealer, who in turn reports back to a gang leader/administrator of sorts.

So in the end the goal is to move up Hastings, move up in rank, move up in the world (as they see it), raise the quality, raise the stakes, and ultimately
raise the price… of life.

In 2010, let the games begin.

photos Ara Shimoon and Debbie Mazurek

E. S. Day

Editor-in-Chief

2007 CALGARY TATTOO CONVENTION

Our Monthly Chart Compiled from The Blood, Sweat & Fears of our Staff.
1. Easyride - Burlap (Visionary)
2. No Fuss Remix – Red 1(Killawatt)
3. Hit Me With Your Rhythm Stick – Ian Dury & The Blockheads (Stiff)
4. Get off My Log - MILK(American Recordings)
5. All The Way Down – Mondo Generator(Suburban Noize)
6. I Must Be Dreamin’ – Cheap Trick (Polygram/UMG)
7. Lefleur Leflah Eshkoshka The Fab 5 (Duck Down)
8. One Life – Raggadeth (Attic)
9. Roughneck Roughness - Spade Ghetto Destruction (Volcano)
10. New York – The Prodigy/Dirtchamber Seesions (XL)
DEN
Our Monthly List of Interview requests…
IED
and the people who told us to go fuck ourselves.
!
THIS MONTH:
Vince Neil.(currently playing 6 song sets on the Casino circuit.
Talk about a gamble. Even the MILFs are mad. Mullet Molesting
Martyr Vince Neil, tells ABORT Magazine- he would rather wear
his little pink outfit from the Theatre of Pain tour, than talk to us
about his overpriced piece-of-shit boat cruise.
Now that’s a sinking ship. So is his hair.
Good luck with all of that.
Perry Farrell: On his recent (half-filled to capacity and could have
used the coverage) Commodore show in Vancouver.
Everyone sing along:
“Perry Perry bo-berry, fa-fanna-fanna fo fairy, me my moe merry…
fuck you.”
GFYS Nov.2007
1. Getting “Dinged”. The credit union takes a stab at this coy ploy, through goofy gimped
up ATM users, who are excited about saving $1.50.after paying a yearly Membership of $500
Go fuck yourself
2. Bloggers who try to invent the 45th sub-genre of Heavy Metal. You’re are better off in-
venting a new safer form of meth from your Mom’s knock-off perfume collection.
3. All the fcuking (sic) sweatshirts with “fcuk” on the front. Brand or no Brand “I wish I
had an original thought in my head” would be a more appropriate slogan.
4. Strangers who ask us for a cigarettes when we are actually smoking a joint, all the
while wearing big-ass headphones and obviously not able to hear their cancer causing re-
quest
5. Chuck Klosterman. The world’s most critical music critic. A man who bought his way into
the publishing world under the guise of a writer. You’re a fucking twit. and your glasses
don’t suit your face. Also, quick question: Why did you put out books? (FYI Stylus just
died. Paste should go next)
We Take An Album and Dissect It Track By Track.
The Results can sometimes be… well, messy.
Vancouver’s Ninjaspy has brazenly broken the mould of what tradi-
tional “Canadian” Loud music should sound like. As a matter of fact, I
can’t even begin to their discuss their debut album, produced master-
fully and impeccably by Garth Richardson (Rage Against The Machine,
Red Hot Chili Peppers); he has obviously seen the originality factor
and talented musicianship amongst a trio brothers (Literally. The “Triad
In Blood” as they are also known). This 3 piece menace to the ears
of society are geared and primed to invade and conquer. Self-coined
Skankore…you’ve been warned.
1.Defecating On What’s Left of Our Child – 4:47 -Well right of the top we have a rollercoaster ride ready to jump on, and
with no operator manning the controls god only knows where your going; a perfect entrance into the world of Ninjaspy. All
out - balls out- metal/funk hardcore, and without warning, I might add.
2.Subartic Trickery- Straight bass slap-pound-punch-kick-kill. Thanks. We needed that.
3.Hit By A Cement Mixer – 4:48 – Hate using the name Kurt Cobain or Layne Staley, but Joel Parent really does shine
through in implementing his viva la vocal prowess. Emotional, brooding, haunting.
4.Love Poem II – 2 :18 - Sorry guys, will appeal to some – not to all. Not filler by any means
5.Out of Tampons – 2:59 – Believe it or not, the title actually represents a nod to the environment, ladies – leave the boys
alone, they’re on your side. Chorus will be an instant live favourite. Chantable, moshable, delicious.
6.SOS From the SOS – 4:23- Ska-dafied Skate anthem if you want it to be. Fishbone would be proud.
7.Pure Sketch 4:01– Extremely mature – Sing-along stuff maybe even a bic-flic into the air at the shows. Can’t blame
‘em.
8.Circle Pity 2:57– Sorry, can’t play it. Nope. Can’t even listen to it . Too good. How about this? If I put this on the speaker
system at the office, I will kill everyone in here today. Worth going postal for. By far the best track on the album. Those
motherfuckers.
9.haTed – 3:17– Full throttle track , nose-diving airplane soundtrack. Plus, after this you’ll want hit the ground and burst
into a ball of flames.
10.Evolution of The Skid - 2:58 I would have to say that I was thrust into the opening sequence from Inspector Gadget the
moment I hit play. Insanely infunktious chorus, this hook-laden song would certainly give the bands peers a shit-scare A
Modern day Mr. Bungle and almost as polished. Keep in mind - only a trio. Brilliant.
11.Submission-3:24 Would it be safe to say that this is a radio friendly track – almost throwing back to the Seattle sound
ala Alice in Chains? Non-intentional mind you. Catchy as fuck nonetheless.
12.Dot Calm Down-3:23 One of the older tracks , the raw nature of the musicianship again blankets the chart-happy chorus
and saves the song from becoming a Dearly Departed track
Ninjaspy.net
By. E.S Day
 NAS
PHOTO: PAUL MICHALOWSKI
AND TOBY SHUCH
MONDO GENERATOR
PHOTO: SARAH HAMILTON

SWOLLEN MEMBERS: MAD CHILD

PHOTO: TOBY SCHUCH

HUMAN ABSTRACT
PHOTO: TOBY SCHUCH
K-OS
PHOTO: TOBY SHUCH

LITTLE BROTHER
PHOTO: SARAH HAMILTON

TOMMIE SUNSHINE
TO THE POINT WITH HENRY ROLLINS

The man with the plan, Henry Rollins, has embarked

on another speaking engagement tour and engaged
in conversation with ABORT’s E.S. Day during a quick
check in from the road.

E.S. Day: With your IFC show doing exceptionally well, it’s safe to ask the obvious: What’s your fave episode
to date?
Henry Rollins: The one where The Stooges were the band and the guest.
E.S. Day: What can we expect see/hear on the 2007 Spoken Word tour? Are we going to be introduced to a
ABORTIST SNEAK PEAK
new enlightenment…Rollins style? Josh Taylor - New York
Henry Rollins: I will talk about recent travel I have done and probably my ailing country and its endless war.
E.S. Day: If Henry Rollins could raise the dead, who would he resurrect? Musician first, then author.
Henry Rollins: Hendrix, Thomas Wolfe.
E.S. Day: The Henry Rollins Band - tour, record, both? In addition, will Canada see the light of Henry’s Musical
day once more?
Henry Rollins: I have no music plans at present.
E.S. Day: Your reaction to the recently announced Misfits 30th Anniversary Tour?
Henry Rollins: I hope it’s good.
E.S. Day: Most anticipated date on your upcoming speaking tour?
Henry Rollins: They’re all important to me. They all make me nervous.
E.S. Day: We recently reviewed the Hubert Selby Jr. Doc. How much of an influence was he on your music or
writing as an author, if at all?
Henry Rollins: No influence on the music.
E.S. Day: Favorite Charles: Darwin, Dickens or Bukowski?
Henry Rollins: Darwin.
E.S. Day: Next up and coming young (unsigned) act - your recommendation.
Henry Rollins: I don’t know of one.
E.S. Day: Anything we should know about Henry Rollins in 2007, that we don’t already (other ventures, books,
films etc.)?
Henry Rollins: Not really. I have the shows coming up in the USA, Europe, and some other travel dates. Past
that, there’s nothing booked.
E.S. Day: Thanks Henry
Henry Rollins: Thanks.
Catch Henry Rollins his show on IFC.

21 AND UNDER
WITH CHUCK D
Rap’s fire-breathing dragon Chuck D. has changed the face Hip-Hop more than once and lived
to watch it turn in its grave . Activist, speaker and the structured voice of Rap pioneers, Public
Enemy, he goes one on one with ABORT’S E.S Day to talk about Canadian Hip-Hop culture,
Billy Preston, ringtones and Oreos®. PHOTO BY WALTER LEAPHART
E.S. Day: E.S. Day here, sitting with the one and only Mr. Chuck D from Public Enemy
on the Devil’s Jukebox and we’re gonna bang out some quick ones.
E.S. Day: How’s it going Chuck?
Chuck D.: Wassup E.S.?
E.S. Day: With the state of Hip-Hop becoming increasingly agitated, do you feel that
this applies more or less to the American music-buying public?
Chuck D.: Yes, it definitely applies more to the music buying public in America because
America is attracted to violence, it’s built on violence and especially because for the
black community talking about violence towards the black community it becomes a fas-
cinating, real life movie looking for an outside… looking in. What people fail to realize
is that this has side effects for everybody, you know… especially after fifteen to twenty
years. It’s not just like oh man, the black kids were influencing their friends to buy it.
You know, I mean younger people, if they actually believe some of these things, there
could be some issues that make them like, pathologically following.
E.S. Day: Alright, and on that note do you think that African-Canadian youth and/or
Canadian hip-hop culture itself is deterred from taking in the marketing ploys of the
big 4 [labels]?
Chuck D.: Canada’s more about music; yes they are. I think there’s maybe two different
growing dynamics with the black demographic in the neighbourhoods and the rest of
Canada, but we have to look and understand at this state of the game now that Canada
and the music scene is moving at the same speed as the rest of the world… and that’s
important to recognize.
E.S. Day: I don’t know if it gets recognized though. Maybe people in the game who
understand it do, but…
Chuck D: I think, you know, seriously if you’re waiting for a mass response of anything,
you kinda overlook what’s already a positive response that already exists. My thing is
like, why do we always have to respond to mass response, instead of counting what we
have? That’s why people say count your blessings. Instead of complaining on what
you don’t have…count your blessings on what you do.
E.S. Day: Where does Chuck D. see the future of Hip-Hop going or ‘music’ for that
matter?
Chuck D.: Years ago I thought it would be a million labels and a million artists so they
got MySpace and YouTube now. I think, when it comes down to hip-hop, I think the
hip-hop artists of the world that will gain world-wide respect. Just like soccer is and
the world where the artist who knows at least two to three languages might be able to
speak to more people. I mean, you know, American art is what makes them the best
if they only got one language.
E.S. Day: Do you think new up and coming artists, no matter what genre, should try
and focus more on touring and “merch” sales to generate revenue instead of relying
on CD/mp3/ringtone sales?
Chuck D.: The CD era is over and the ringtone area is based on programming and all
the areas of downloading is based on programming so those things are buying them
out, but really, seriously… I tell all artists to develop your art, morphing it into an act.
The act is something that, well… me and my lady we gonna go out, we wanna sit there;
we wanna have a good time…
E.S. Day: …And be entertained.
Chuck D.: Oh yeah seriously, you know my girlfriend, she likes the opera or a play like
“Phantom of the Opera.” I go with her and I’m totally entertained although I might not
be into “the thing,” but I know that I appreciate the passion and the effort.
E.S. Day: Who’s Chuck D. listening to right now- old school?
Chuck D.: Um… right now… Solomon Burke. You know I’m a Stax, Motown, Atlantic
junkie, increasingly I find myself dipping more into late 50s early 60’s and that transi-
tion of soul.
E.S. Day: Same question but an artist we don’t know about yet, like an unsigned art-
ist?
Chuck D.: I wouldn’t say unsigned, but on my label Slam Jamz you know I’m just totally
enthralled by the abilities of Crew Grrl Order. All female rap squad that is the first all
female rap squad in fifteen years and they’re opening up tomorrow night in New York
City so I’m excited about them cuz they really developed their act. And, you know, it’s
easy to make music that happens to do the right things, but to make an act you have
to consistently work at it.
E.S. Day: What about… now don’t get mad at me, what about Deadly Venoms
though?
Chuck D.: Deadly Venoms, I wanted them to exist, but they exist in, I guess, maybe a
couple studio recordings.
E.S. Day: They did have one hard track though, but they were riding on the Wu thing
weren’t they?
Chuck D.: But that’s fine. I think it’s like they never were seen and they never really
came to fruition as a group. I waited; I wanted Deadly Venoms to happen. You know
there could be more female groups in hip-hop just like there could be population in
Canada.
E.S. Day: What is the scoop on the PE comic book series and should we assume a
message will accompany the visual vasectomy?
Chuck D.: (laughs) There’s always a message in a P.E. comic, it takes on a life of its
own Truth, Justice and the International way.
E.S. Day: In Mista Chucks eyes, what happened to the
original rapcore, and I mean when you guys obviously
did your thing with Anthrax, that kicked it off, and I’m not
talking Limp Bizkit, Korn, but like Dog Eat Dog, Grave-
diggaz, Urban Dance Squad before that “Nu Metal” thing
came out, what do you think happened to that? Do you
think it was the majors got a hold of it and fucked it all
up again?
Chuck D.: I think the majors’ rules might have fucked it
up. Think of it like “aw man this stuff is just not moving
units.” And I think once it becomes the end all be all fac-
tor on whether someone should cut records or keep on
cutting records or performing, I think it becomes trouble-
some. I think Public Enemy we tour with X-Clan in the
United States and its not based on… you know, Public
Enemy we don’t tour to promote a record. We tour cuz
we tour and a record comes out along the way. X-Clan
is actually touring with us and they actually have a re-
cord, but it’s important to always understand that you’re
doing the tour thing cuz that’s what you do.
E.S. Day: Talking about the rapcore from back then I’m
going to name five artists, you tell me the first thing that
comes to mind. The Goats…
Chuck D.: Wow. Totally overlooked
E.S. Day: Proper Grounds.
Chuck D.: Lost in the cracks.
E.S. Day: Tha Hard Corps.
Chuck D.: Uncertain.
E.S. Day: New Kingdom.
Chuck D.: .Innovative.
E.S. Day: .Smokin’ Suckaz Wit Logic.
Chuck D.: Let me find the words… um… ahead of it’s
time. Now the answers to all those bands in question is
the fact that I don’t think the format at that time fit their
visions.
E.S. Day: They were all a little ahead of themselves, all
of them.
Chuck D.: Right now, you come out with a credible al-
bum, does it fit the format? Is that the format of this
time with people listening to sixty seconds worth of ring-
tones?
E.S. Day: Everyone who reads our magazine hates ring-
tones.
Chuck D.: Ringtones don’t give you a break, they don’t
give you a second chorus or shit.
E.S. Day: Who would you like to see come out of retire-
ment (musically)?
Chuck D.: Sly Stone.
E.S. Day: Will New Media ever have a standardized
form of delivery or be consistent evolving entity?
Chuck D.: Mp3 is the compression of choice and what
people got to understand is that all mp3 is a compres-
sion, knock down something that you dig into something
that you can dig and put a lot more onto. That’s the kind
of unbeatable compression online. As far as visuals are
concerned… mp4, but you know Quicktime and Flash
and all that stuff are great.
E.S. Day: Explain to our readers & listeners, how P.E.,
or more importantly the music industry as whole, can
help with fighting HIV/AIDS and I don’t mean just pre-
vention and awareness but towards finding a cure –or
are we just for another falling head first in to another
pharmaceutical money pit?
Chuck D.: I think the importance… and this will have to
happen over a longer period of time, the importance of
music and musicians is to be able to point out the people
doing real things at real times, and people actually going
into the realms of science with a vigor and a hunger that
the more that you kinda like nod your head to people
being intelligent you have a brilliant chance of creat-
ing doctors and scientists who have the fabric to make
changes in this world based on their intelligence and we
as musicians have to point to them…(pauses) That’s a
nice recorder.
E.S. Day: You like that? That’s an Olympus. My mother
bought me that. (laughs)
Chuck D.: I gotta get me one.
E.S. Day: (laughs) Props to Mom. If you had the power
to raise the dead, who would you pick musically?
Chuck D.: James Brown. (laughs) Am I crazy for that?
E.S. Day: No, that was kind of obvious once I heard you
mention Sly, nothing wrong with that.
Chuck D.: A Ray Charles and James Brown concert
would be very enjoyable right about now.
E.S. Day: I had “Hot Pants” on this morning… not me
personally, the song. (laughs)
Chuck D.: (laughs) …I had a good thing I had to tell
you man. James Brown…Ray Charles…oh yeah yeah
yeah, you know that when people like that pass away
they take a large amount of soul and funk with them.
E.S. Day: Oh for sure, you can’t get that…no, no, no,
there’s no replacements.
Chuck D.: Burn that shit. That shit is out.
E.S. Day: I find that the best Rap to ever come out of
Canada has always been through indie releases. Why
do our US neighbors consistently grasp for that platinum
plaque and continue to sign bad Major label deals with
a horrific marketing department, and waste most of their
careers?
Chuck D.: The black community, you know, they watch
BET and they listen to what’s called urban radio. What
the fuck is urban radio? Before black music was called
black music, because we’re black people and black mu-
sic came out of us saying, “well this is a talk to each oth-
er” and saying “hey, this is where we come from, this is
what we need.” But once corporations bought the radio
stations they took the word urban so they could say that,
you know, black is not the thing that owns it. The other
thing about it you could knock the word black out and
replace it with urban which signified the ownership ain’t
black and it ain’t for black people: it’s for our sponsors.
E.S. Day: We are already sick of “Hip Hop Is Dead”
rants. What do you think is dying right now besides my
list of questions? (laughs)
Chuck D.: (Laughs) Hip-hop is dead by now as I interpret
it, as just a situation where in 85% of the records the
topic is death and also 85% of the records are talking
about things dying. Now hip-hop will still move and it
might even move forward, but it’s like 9/11 is dead.
E.S. Day: (laughs) Zombie rap.
Chuck D.: It’s zombie. It’s zombie now.
E.S. Day: Will Rapstation.com and Slam Jamz always
be a portal for indie Rap & Hip Hop?
Chuck D.: Yes indeed and I would just like to be able to
get Rapstation and maybe Slam Jamz into doing more
for indie.
E.S. Day: The last time I saw you guys was on a really
screwed up bill, or actually I don’t think you even got
over [the border] because first I’d been into the Indica
too much…
Chuck D.: (laughs)
E.S. Day: But you were billed with Sisters of Mercy,
Warrior Soul and Young Black Teenagers, now that’s a
fucked up bill. That was before it was a marketed thing,
it wasn’t all “well lets put it all together,” these bands
were doing things and everyone wanted to see it togeth-
er. It wasn’t a Lolapolooza thing.
Chuck D.: Love and hate is the same emotion, so we
knew that presenting that was not going to be a package
that would automatically work. “Wow its gonna auto-
matically work.” I think it was, “great, let’s try and make
it work.”
E.S. Day: Did you like that tour?
Chuck D.: Yeah I was recording an album at the same
time.
E.S. Day: What were you recording then?
Chuck D.: Apocalypse ‘91, like on the run. It was mix
it and record it and hurry up and get to the gig and An-
drew, you know…
E.S. Day: Jesus its been that long already, that’s like
’91.
Chuck D.: Yeah, its like fifteen years ago man… “six-
teen” years ago.
E.S. Day: What was your fave non hip-hop tour of your
career?
Chuck D.: U2… and I would say, you know, Anthrax was
the best!
E.S. Day: You still get along with those guys? You talk
to Scott Ian and all?
Chuck D.: There’s no reason not to get along with
them.
E.S. day: That was the shit. When that came out, fuck,
it fucked everyone up. (laughs)
Chuck D.: That was a great tour feeling wise, performing
wise. Yes, great, great tour.
E.S. Day: Who haven’t you shared the stage with that
would make you star struck?
Chuck D.: Ray Charles and James Brown.
E.S. Day: Someone current?
Chuck D.: I tell you straight up, lemme see…
E.S. Day: That you haven’t played with. (laughs)
Chuck D.: Wow… there’s a lot of people we haven’t
shared a stage with, but I tell you to do a tour together…
Grand Master Flash and the Furious Five, we never
played together.
E.S. Day: If you went before a firing squad and your last
meal request was replaced with a song what track would
it be? (laughs) Blindfolded with headphones on.
Chuck D.: It’d be two songs… “The Long and Winding
Road” by Ray Charles, not The Beatles. Um… erm…
E.S. Day: James Brown (laughs)
Chuck D.: I’m trying to think… I can’t think.
E.S. Day: He thinks he doesn’t think, he is Chuck D.
Chuck D.: Fight the Power maybe.
E.S. Day: Ok, wicked. Have you seen “Before the Music
Dies?”
Chuck D.: Yes, great movie, fantastic. I recommend it to
everyone. Great documentary.
E.S. Day: How about the opening scene with Billy Pres-
ton, Ray Charles “Agent 00 Soul!”
Chuck D.: Oooh! Shit! (Hi-fives E.S., then shakes his
hand then a half -hug and then watches E.S. turn back
into ….a music lover, and for 30 seconds – his bitch)
E.S. Day: (laughs) Agent Double O Soul, nobody can
fucking move like Billy Preston before he got the ‘fro go-
ing…
Chuck D.: The mohair suit…
E.S. Day: And before he got into the dope. He was
fucked up, that was the shit right there. Don’t get me
started on Billy fucking Preston. Alright? um… (laughs)
Chuck D.: (laughs)
E.S. Day: Don’t get me started (laughs). Sorry. Any-
way…my father was a Jazz musician, I grew up with
funk my whole life so instead of talking funk I’m gonna
shut my fucking mouth.
By E.S. Day
Rob Dukes - Exodus
exodusattack.com

Mitch - Suicide Silence

SuicideSilence.net

Mike - Suicide Silence

Suicidesilence.net

After a label change-up, line-up rearrangement
and other obstacles, singer/songwriter and poet
Otep Shamaya has come out on top of her
game once again, to shatter the myths sur-
rounding her group Otep, the ever-changing face
of the recording industry and has no qualms
about letting people know who she really is.
Read on as she discusses on the phone from
L.A., her views on touring , her love of Hip-Hop,
and why she thinks the Metal community does
not do nearly enough for the fight against HIV/
AIDS.
Abort: E.S. Day here for Abort Magazine,
how are you?
Otep: Doing very well, thank you.
Abort: We had already featured your al-
bum when you were on a different label-
we’ll leave it at that--which brings me to
my first question: Now that you’re on a
KOCH, are you having more of a hand in
the band’s career than before?
Otep: I guess so! In terms of working
with the new label, the biggest difference
that I see is just how responsive and how
involved they are. I don’t think much has
changed on my end; I’m still the fire starter
on this side. It’s just nice to actually work
with a label that is so passionate about
the band.
Abort: We’ve noticed that KOCH seems
to really be behind this album. We had it
quite awhile ago, when it was on a differ-
ent label, and we actually ended up pull-
ing the review from our site and the print
version for the simple reason that it would
not have been available to your fans. It
was our album of the month, but we had
to pull the review, so we’re happy that it’s
out again!
Otep: I can handle any sort of obstacle that
comes along; it gives us the opportunity
to use our logic and reason to find a way
around it. But being stagnant and being
paralyzed throughout this process was re-
ally difficult for me. I can always identify
with the fans who were so frustrated and
so enthusiastic about the new record, and
I am just pleased beyond measure that
we’re able to get this behind us and now
we’re looking forward.
Abort: I’ll tell you what would please us be-
yond measure: if fucking Otep would come
to Vancouver! How come you never come
here?!
Otep: [laughs] You know what? That has
everything to do with our former label.
Abort: So it’s nothing to do with the bor-
der?
Otep: Well, we did get into one issue with
the border. I don’t really know what it was,
other than...
Abort:...yeah, they’re assholes! That’s the
problem.
Otep: That’s it! They were searching our
bus like crazy, and they were really focus-
ing a lot of effort on me, and I thought for
a moment that perhaps all of that Bush
bashing that I’d been doing had somehow
filtered over into Canada. Maybe I’d been
blacklisted, I had no idea. It turned out to
be a really difficult time, and I remember
right around that same time other bands
that were trying to go over were having
difficulty getting in as well. In the end, they
were just trying to charge us a bunch of
fees that our label wouldn’t pay, so we had
to turn around, go back home, and cancel
the show. It was a really big letdown for
us.
Abort: You’re not the first to say that.
Otep: It was so surprising because we
were so excited and we didn’t expect that
kind of resistance. It was really disappoint-
ing, but hopefully we won’t encounter that
again and we’ll figure something else out.
We’re really in a good place now--with the
label, within the band, with this new record
that we’re so excited about--and we just
want to play! We just want to play music.
We’ve never been to Canada, and we re-
ally want to play there.
Abort: I really hope you guys come here,
and hopefully there won’t be any confron-
tation at the border. Speaking of confron-
tation, [the song “Confrontation”] was on
our Headphonica chart a couple of months
ago, and we were all over it. Is there going
to be a video, and if so who directed it?
Otep: As a matter of fact, we are filming
a video for ‘Confrontation’ this weekend!
It is the same director that I’ve worked
with on most every video; his name is Paul
Brown. I’ve worked with him on “Ghost-
flowers,” I worked with him on “Warhead”
and “Buried Alive,” and so we’re really ex-
cited. We’re actually gonna be doing vid-
eos for “Confrontation” and “Breed” in the
same day.
Abort: Speaking of videos, we did an inter-
view with a gentleman named Thomas Mi-
gnone (video director for Otep, Mudvayne,
Superjoint Ritual and Sepultura’s clas-
sic “Roots Bloody Roots” among others)
about six months ago. Does that ring a
bell?
Otep: Absolutely!
Abort: Nothing but praise for Otep! Any
chance of working with him again?
Otep: Oh, sure! I love Thomas; he’s an in-
credibly creative director, and I think he
and I see eye to eye on a lot of things. It
would be a remarkable alliance for he and
I to work together again.
Abort: I noticed that some of your lyrics
might point towards an older metal listen-
er like myself, but at the same time you
like to utilize social networking (MySpace,
etc.) in order to get your point across. Do
you find that some of the younger people
using these networking sites don’t get
your point, and just focus on the pictures
and video?
Otep: I’m not sure that age has much to
do with it as much as that here’s just too
much information. There’s people that
I’ve met who are much older, and they just
want to come out and drink a beer and
rock out. Then there are some who are in-
terested in the lyrics and all of the hidden
messages that they can find. It’s always
remarkable to me just to see the different
ways that music affects people and what
is meaningful to them about it, whether
they just want to rock out or to attach
themselves emotionally to it, or if there’s
something spiritual about the song that
they find a connection with.
Abort: We find Otep to be extreme, both
lyrically and musically, and at the same
time this magazine is also into hardcore
hip-hop--and when I say hip-hop I don’t
mean 50 Cent….more like old Public En-
emy, old Wu-Tang, and M.O.P. How much
of an influence does hardcore rap play in
Otep’s writing process?
Otep: It does [have an influence]! I’ve been
listening to, I think, one of the best hip-hop
records of all time, which is “Liquid Swords”
(Genius/GZA), and it’s just an amazing al-
bum from start to finish. Words matter
to me, the stylistic delivery of words mat-
ters to me, philosophy matters to me, so
that’s what I think the appeal of this style
of hip-hop is. It’s about music from people
that have something original to say, and
they want to say it with style and make you
think while you’re listening to what they’re
saying. Those things are important to me,
inspire me, and get my wheel turning, so
that’s why that music’s important to me.
I don’t really listen to a lot of heavy music;
it’s not something that appeals to me cre-
atively because I don’t find a lot of singers
in that world that really move me.
Abort: There’s a lot of garbled stuff out
there right now.
Otep: Yeah, there really is, and I can’t latch
myself onto any of the music or the mes-
sages or the lyrics. I don’t close myself off,
I like listening to anything and everything
that inspires me. I think that’s my job as
an artist, to seek out inspiration, so I listen
to everything from The Doors, to Radio-
head, to Slayer, to Slipknot, to Wu-Tang,
Biggie, and even classical music.
Abort: I think it’s important for the fans
to know that too; that they shouldn’t limit
themselves to one genre of music, or
one of the fourty-five million subgenres of
heavy metal.
Otep: The one thing that I think is lacking in
music is a sense of originality, and I think
that most bands just try to copy some-
thing that they’ve already seen, which is
already a copy. A copy of a copy of a copy,
and it just keeps getting lighter and lighter
and lighter until there’s no substance to it.
It’s nothing. We’re having the same sort
of thing that happened back in the glam
days. That’s what it feels like to me. But
then what happened after the glam days
there was an influx of really good music,
with good songwriters; a communal as-
pect of art and dissidence. So hopefully
something like that could happen again.
Abort: That didn’t last too long, and I know
exactly what you’re talking about. It’s too
bad that the industry at the time slept on
anything that could’ve had a prominent
role in the way that people listened to mu-
sic. But if it didn’t have those initial sales,
the longevity factor went out the fuckin’
window, which is a real drag. Hopefully
Otep and “The Ascension” will bring that
back. This album is incredible and we’re
still pumping it even though we’ve had it
for quite awhile. The album drops Octo-
ber 30th, which is the day before we have
a Mr. Henry Rollins here for his spoken
word tour. That brings us to the next
question: how is your spoken word thing
coming along? Do you plan on doing a tour
like that and maybe even hooking up with
another spoken word artist?
Otep: The spoken word thing is coming
along marvelously, and we’re actually fea-
turing a version of the record that con-
tains a spoken word performance that I
did and recorded myself. That’s exclusive
to iTunes, and I think it’s really cool that
they asked for something exclusive and it
was my privilege to be able to share that
with them. I’m a big fan of Henry Rollins,
so that’s really awesome. I think in Janu-
ary or so, sometime early next year, I’m
looking to get into the studio to start try-
ing to organize all of these writings and
recordings that I’ve been doing for a year
now into something that’s actually a cohe-
sive record. It could be pretty soon, and
I’m really excited about it.
Abort: In between touring and festival ap-
pearances, do you think we could see Otep
Shamaya coming to Canada to do the
spoken word thing? Maybe that’ll get you
across the border; a pile of books instead
of a microphone.
Otep: There’s a lot of things that I hope to
accomplish before I depart this life, and
that’s one of them. I’ve performed Def
Poetry on HBO and that was a lot of fun,
and it was an honor, but to do something
else in my own way, to be able to deliver
it in my own way to audiences would be
really nice.
Abort: You’ve got a couple of new mem-
bers in the band, correct?
Otep: We do. The drummer (Brian Wolff)
been with me for awhile, but we do have a
new guitar player (Aaron Nordstrom), and
I’m very happy to welcome him into our
family because he is probably one of the
top two most talented guitar players that
we’ve ever had play in this band, and to top
it all off he’s albino! He has a light sensitiv-
ity, so on stage with the lights shining on
him he’s basically playing blind. He’s an
amazing player! He’s precise, he’s pas-
sionate, he plays with emotion, but yet he
rarely misses a note. I think that anyone
that might have seen us play in the past
has no idea what we have in store now; it’s
evolved into a total assault on the senses.
It’s really an amazing experience, and for
me it is a seduction, like spiritual inter-
course with my audience. There really is
nothing like it at all.
Abort: One final question before I let you
go: Why do you think that the heavy met-
al/hard rock scene does not do nearly
enough charitable work?
Otep: I think most bands that have gained
popularity recently are all filler, no killer.
It’s all about image, and there’s nothing
with substance about it. What do they
care about anything important other than
the celebrity and notoriety that they get
by playing music? There are some bands
out there that actually do...
Abort: There are some. But there are a
lot of metal musicians that have passed
away due to HIV and AIDS; it’s never talk-
ed about, it’s not brought up, and I’ve only
seen a handful of bands that might help
either bring awareness or contributions
to the cause like yourself.
Otep: Like I said, I think it has more to do
about them mainly caring about what they
can get out of music instead of what mu-
sic gives them; the opportunities that are
given to us and the platform that we have
to help a lot. We have a voice, we should
use it for good things as well as our own
selfish inclinations.
E.S Day: Thanks for your time.
Otep: Thank you.
Otep’s “The Ascension” is available is
stores now on KOCH Records.
 Strung Out w/ Evergreen Terrace & I Am
Ghost
Oct.14/07
Phoenix Concert Theatre, Toronto. On.

jimmy lynch
Galactic Featuring Boots Riley and Chali 2na w/Lifesavas
Thursday October 18, 2007
Commodore Ballroom - Vancouver BC
Things got off to a nice early start with Lifesavas, who came out swinging at 9:15 sharp.
Portland’s finest were one of the first shows I saw when I moved to Van five years ago,
and the development of their skills is phenomenal. Insanely tight conversational back and
forth flows, which to my ears are definitely the next level in rap - I mean, I can write pages
of rhymes easy, but to get shit that tight with another MC? Much time and weed I’m sure.
Vursatyl’s storytelling flow is immaculate, and Jumbo the Garbageman rocked rhymes as
off the hook as the ten pounds of gold ropes swinging over his pink T-shirt. DJ Shines on
the ones and twos displayed serious skills, subtly and continuously mixing shit in and out
around the MC’s verses, scratching it up and keeping the mix nice and true school. The
sound man was on top of his game too, with every syllable audible over the bumpin’ bass
heavy beats. My appetite for true Hip Hop thus piqued, I was fully anticipating greatness
from Galactic…
Like I said though, no interview=honest review (not the bands fault, I know…), and from
note one I was dreading mediocrity. It felt like all the gritty rawness of “From the Corner to
the Block” (Epitaph) was some superficial studio gloss, and Galactic came out sounding like any late night talk show band
of white funksters, immobile on stage in the posture of studio musicians. A dazzling light show was intended I suppose to
distract from the lack of action on stage. Boots Riley’s opening salvo of lyrics was an unintelligible patter of syllables - I’ve
seen ya three times now Boots, and I gotta say your live game sucks! All the eloquent intelligence of your lyrics is lost in
your wooden delivery. I always considered you a rapper and not an MC anyway; I mean you admitted you don’t freestyle,
and it’s obvious you can only deliver in the studio.
A couple of dry instrumentals later (like a jam band without the jam…), and Chali 2na takes the stage to wild applause. A
couple of classic Jurassic 5 tracks followed by his “Corner to the Block” collab had all the hipsters losing their shit and flail-
ing semi-rhythmically. Chali’s got the voice for sure, and his
booming live delivery way exceeded Boots’ incoherent cluck-
ing. I’m afraid Chali was underwhelming too though, with his
signature quarter note downbeat flow eventually becoming
mechanically repetitive and emotionally flat. Even with Vur-
satyl hyping the shit out of it, it still sounded, well, unenthusi-
astic and dull to this cat.
When on tour, things don’t always go exactly as
planned. This night was no exception. Arriving
at the advertised show time of 8:00pm (doors
open at 7:00), I was surprised to find the first act
(I Am Ghost) on the second-last song of their
set. Although appreciative of the sparse turnout,
the horrendous sound problems practically nul-
lified a worthy effort. The venue itself is ideally
suited for this type of event. A licensed balcony
overlooks the madness below while leather-
lunged, alcohol-fueled ne’er-do-wells do their
best to disrupt the proceedings. Of course, with
the decibel levels approaching 747 at take-off
levels, this is all to no avail. Since I Am Ghost
started too early, there was an exhaustive, inex-
cusably lengthy wait for Evergreen Terrace to appear. When they finally emerged, however, they made the wait almost seem
worth it. By then (of course) the place started to fill up quickly as E.T’s furious pace got everyone in the mood for metal.
These guys ripped through their set with efficiency and a no-nonsense delivery, resulting in the requisite mosh-pit ballet.
E.T.’s frontman on several occasions mentioned how great it was to be on tour with Strung Out, obviously an appreciative
fan himself. An interesting fusion of fans were in attendance, from mohawk-punkers to black-clad eyeliner-wearing goth-
rockers, to old school metalheads (still with the same clothes and noticeably balding long-hair), and of course, the skate
shoe wearing new school set, all decked-out in their “vintage” value village duds. Also present were scores of seemingly
available attractive young women who traveled in packs to ward off any goth-rock vampire attacks. The cavernous main
floor was filled to capacity by the time the headliners Strung Out were scheduled to appear. Thankfully, a water and juice bar
on the main floor was open; its popularity reflected by a dozy attendant and embarrassing sales. Clearly, this crowd prefers
their beverages with a little more kick.
Finally, with interior humidity reaching Miami levels, the masses whose chants of “Strung Out! Strung Out!” were about to
be rewarded. The house lights extinguished, Strung Out exploded on stage to the deafening roar of approval from all at
hand. Obviously seasoned veterans, they had the crowd worked up to a frenzy in seconds. The flawless performance was
an inspiring display of musicianship and showmanship. You know how most bands can never match their studio stuff live?
These guys are better live than in-studio and then some. So tight you would swear they were play/lip synching. Dozens of
hysterical thrill-seekers hurled themselves on stage and off (or were hurled off by security). Despite the pandemonium, the
band somehow manages to perform their songs with the precision of a
surgeon. A quick step to the right to to avoid a body in flight during the
guitar solo? No problem; just another day at the office for these guys.
And soldier on they did, for on the Chicago stop of the tour, somebody
stole their van and trailer, complete with all their stuff. To continue a tour
under these circumstances speaks volumes about these guys’ charac-
ter. True rock warriors.
by Jimmy Lynch

Not like the packed crowd of hippies, hipsters and half-assed

Hip-Hop heads minded at all. It seems simplistic, repetitive,
derivative grooves are just what it takes to move the crowd.
photos: sarah hamilton
Fuck it, Lifesavas ruled and Galactic left me cold, so I headed
to the Astoria for a “Thursday Ting” - dope reggae, dancehall
and grime with no cover! Guess I’m just not feelin’ this funk.

By Dave “542” McCallum

HIM w/ Bleeding Through Aesop Rock w/ Rob Sonic, Blockhead, DJ Big Wiz, DJ Signify and Black Moth Super Rainbow
Friday November 9, 2007 October 26th, 2007
Croatian Culture Centre, Vancouver Commodore Ballroom,Vancouver, BC

“I DON’T GIVE A FUCK!” The first words howled by Brandan Schieppati of Bleeding The interview I had waited weeks for was suddenly not happening. Due to
Through, one of the pioneering forces of the American hardcore and metal fusion, that now a series of miscommunications, all the brilliant and incisive questions I had
dominates an over saturated genre. They are clearly pissed off, and lucky for us, as this prepared were just bullshit now. So I sat at home with the “Black Afghani”
fueled one hell of a show. A slam-bang maelstrom of hardcore energy, with raw and brutal trying to numb my confounded expectations so that I could at least just enjoy
fury, Bleeding Through would have been a near impossible band for anyone to follow. They the show. The crowd outside the Commodore was already hyped by the time
tore through favorites “On Wings of Lead,” “Kill To Believe,” and opener “For Love and Fall- I arrived around 10:30 and the room inside was packed
ing” with great precision, and a very full sound for a sold out crowd on Friday night.
Blockhead and Signify really failed to impress me in any way as I sat drinking
Balancing out their bludgeoning attack were the highly effective dynamic of melodic vocals in a dark corner, my beer heavily spiked with whisky thanks to a friend in the
and the haunting black metal atmospherics courtesy of keyboardist Marta. The band also crowd. The mix was too muffled and the beats too clunky to draw us to the
comes with a very humble outlook, knowing that the majority of the crowd had turned up dance floor. Black Moth Super Rainbow (?) Seemed like an odd choice for
to see the openers of the night. Schieppati, went on to say “98% of the people probably an opener; a five (or six ?) piece funk band reminiscent of Galactic but on a
don’t know who Bleeding Through is…” although that was immediately overshadowed by bit more acid. I guess Aesop wanted to diversify the sound or some shit like
the passionate screams and cheers of their fans. Bleeding Through was also quick to point that, or maybe he just didn’t want another rapper on the set…
out that the two bands sharing the stage were quite different, and that fans were probably
expecting another rock band. He assured the crowd that they were not there to intimidate Anyway, when Aesop took the stage with Rob Sonic I was already front and
in any respect, but rather to unleash some good old metal for everyone to enjoy. In this, center, weaving like a motherfucker with a drink and a spliff. What can I say?
photo by: paul michalowski
they succeeded. As awesome live as ever I thought he’d be, Ace rocked a good long set of
material from “Labour Days” to “None Shall Pass,” his voice as flawlessly
This was indeed a tough act to follow, and unfortunately, HIM was really not up to the task. The Finnish rock act were greeted fluid as it is on record, causing the visual imagery of his lyrics to form a thick
with rabid fans, nearly all sporting the patented “Heartagram” in one form or another. They clearly could not wait for the swirling fog of meaning around the heads of the hypnotized audience. The
goth-tinged “Love-Metal” act to start their set, and were utterly thrilled, screaming at the top of their lungs when HIM finally darkness of his beats (produced mostly by himself and Blockhead) is offset
hit the stage (and more so when frontman Ville Valo appeared). But alas, HIM could not match the sheer excitement and by the somewhat cartoon-y vibe of his flow, and with corresponding visuals
energy generated by Bleeding Through in their stage performance or the feeling put into the songs. Although backed by a on the projection screens it was equal parts moody and whimsically weird.
monstrous rhythm section, and an excellent light show, Valo, looked somewhat strung-out, a-la Keith Richards, cigarette Aesop seems to create a whole other world with his music and his lyrics are
dangling from his lips and all, and seemed in a lull, with rather uninspired vocals (some bordering on Vince Neil incompre- like mini epic movies with the detail of a “Where’s Waldo?” drawing. Plus with
hensible and others screamed in over the top fashion). One of the stronger moments came when “Buried Alive By Love” was the legit NYC boom bap behind him in the hands of DJ Whiz, Aesop Rock
performed, with the fans helping to generate some of the lacking energy, as they belted out their share of the vocals. represented to the fullest for the dirty Def Jux sound.

In the end, Bleeding Through stole the show, although the fans seemed just fine with being able to share an evening with Special thanks to Spectrum Events for making things happen (as usual).
HIM.

By Andrew Johnston By Dave”Corvid” McCallum

photo by: paul michalowski

IAMX
Monday, October 29, 2007
The Plaza Club, Vancouver BC

As the lights dimmed upon the Plaza Monday evening, a chorus of violins began to pour out of the speakers, setting the
mood for an evening of blessed-out grandeur. The promise was more than delivered upon as the Chris Corner fronted IAMX
followed through with the high energy of electro-punk rock fury, and the melancholy of the greatest in ambient music. Former
Sneaker Pimp Corner (sporting comic book inspired make-up, and a disco-ball flavoured top hat), along with his band-mates
(equally dressed for the occasion) proved to have great stage presence.

Tracks from both IAMX albums were performed, followed by a short break and a decent length encore to the small, but
passionate audience. The set-list, which included highlights “President,” “Night Life,” “Spit it Out,” and “The Alternative”
recalled the work of Depeche Mode, The Cure, and The Chemical Brothers in its own variation on synth-pop, electronica,
and trip-hop.

Thundering drums, a pulsating and relentless bass, melded with a heavily distorted guitar and ambient waves to produce a
groove that the standing crowd could not help but move to. Corner was in top form, as his passionate vocals soothed, while
occasionally trading off female vocals with bass player Janine, to create great dynamic effect. Top all this off with a tripped
out light show (complete with black light, lasers shooting out at the crowd, and mesmerizing strobe) and surreal, slightly
disturbing imagery projected over 3 monitors (hinting at the films of Lynch and Cronenberg).

Overall, it is too bad that there was not a greater turn out to this event, as IAMX delivered a hypnotic show that could easily
have won them a new legion of devotees.

By Andrew Johnston
photos by: sarah hamilton, chris webber and josh fee

Divine heresy
Bleed the fifth
Roadrunner records
Ex-Fear Factory guitarist and founding
member Dino Cazares and co. have de-
livered a lean, driven, and brutal album
with their debut, “Bleed the Fifth.” Though
comparisons to Fear Factory are inevita-
ble, Divine Heresy actually have more in common with mod-
ern metalcore acts like Bleeding Through; more chaos, less
melody. Along with half-machine drummer Tim Yeung and
vocalist Tommy Vext, Divine Heresy’s debut is a frenetic,
testosterone driven affair.
The drums rattle off like machine guns, the guitars tear
through the mix, and the vocals are aggressive without be-
ing incomprehensible. Though there are occasional clean,
melodic vocal sections, they’re mostly overshadowed by fist
pumping shouts and mosh-friendly breakdowns. And while
there is the occasional synth drone, the production is gener-
ally minimalistic, focussing on the guitar/bass/drums combo.
Fans of Cazares’ work with Fear Factory might be put off by
the unrelenting speed and lack of melodic sections, but Di-
vine Heresy is a different creature with a different focus.
Unfortunately, the disc often seems too focussed on its own
concussive barrages to really shine. The band play to their
strengths--namely their rapid-fire, mechanical precision--
but mostly shy away from any real experimentation. Aside
from the rare quiet intro or brief synth flourish, the songs
mostly sound pretty similar. That’s fine if you just want your
ears caved in, but those looking for a little variety might find
themselves burning out after the first few tracks.
The tragic exception to this rule, however, comes in the form
of the final track, “Closure.” Sounding like a special gift to
Theory of a Deadman fans, the song wouldn’t be out of place
on the soundtrack of a b-grade comic adaptation. Maybe the
band’s otherwise sharp focus is a good thing after all...
By Calder Fertig
Agnostic Front
Warriors
Nuclear Blast Records
Ah, like a fresh breeze blowing across
a corpse ridden heavy metal battlefield
comes the new Agnostic Front album
“Warriors.” Marching forth with weap-
ons in hand and belting out some of their
heaviest war cries to date, Agnostic Front continues to keep
the hardcore/thrash fight alive and as vital as ever.
Spawned in the early 80’s, (from the same New York Hard-
core scene that gave us Adrenalin O.D., Murphy’s Law and
Cro-Mags), Agnostic Front have been a voice for those who
are ignored and must fight for what they think is right. Hard-
core is and will always be socially driven music with a mes-
sage and “Warriors” is no exception. Songs like “Addiction”,
“Change Your Ways” and “We Want the Truth” prove positive
that hardcore is as relevant today as it was twenty odd years
ago.
Hardcore is about the anthems too, the songs that inspire
those of us who give a shit to chant along and truly believe in
what we are listening to. The title track “Warriors” is a perfect
example of this, a fist raising, head nodding anthem that will
have you singing along before the band kick it up a notch
and leave you “Black And Blue” with the next track, (aptly
named “Black And Blue”).
Produced by Madball frontman Freddy Cricien, (lead singer
Roger Miret’s younger brother), “Warriors” is Agnostic Front’s
ninth studio album and one of their best! Something for ev-
eryone, this hardcore/thrash offering does cover familiar ter-
ritory, but good familiar in the way of returning to the scene
of a recent battle with arms raised in victory to plunder the
mangled remains of the fallen oppressors.
Still socially relevant, still a voice for the oppressed and still
kicking some righteous ass, the release of “Warriors” shows
Agnostic Front exactly where they belong, in the hardcore
front lines of the fight for what is right. “Warriors” through
and through.
By Grimm Culhane
The Jolts
Jinx (EP)
Haute Voltage Records
Remember when punk rock was like a
stiff drink in the face and not the “near-
beer” pop-punk concoction it’s now be-
come? Bands like “The Damned,”, “The
Dead Boys,” “The Ramones” and “The
Stooges”, (or any other late 70’s punk band beginning with
“The”) had fucking balls and knew how to kick out fast, fu-
rious songs of love, hate and betrayal without sounding
preachy, whiny or contrived. Today’s new generation of cas-
trated rockers seems to have missed the point of punk rock’s
existence entirely, operating under the assumption that look-
ing like everyone else and whining incessantly negates the
need for style or substance.
Thank God for bands like Vancouver’s “The Jolts.” Armed
with both style AND substance (and names like Joey Blitz-
krieg!, Dr. Dylan Danger!, Lector Kurrentz! and GT Flare!,
gotta love that!), these blue jeans and leather clad, swag-
gering reprobates have single handedly returned my faith
in punk rock as a continuing viable musical genre. From the
opening beats of “Caffeine Heartbeat“ to the last resonating
note of “Jinx”, this five song EP and it’s fast, catchy, riff laden
tracks (no fucking whining here!) will kick your ass and steal
your girlfriend all at the same time; the two things punk rock
was born to do. Well worth checking out especially if you
are a simpering “pop-punk” fan who doesn’t know true punk
from shit. Take a lesson chump.
By Grimm Culhane
X-Clan
Return From Mecca
Suburban Noize records
After nearly a decade long hiatus, and the
passing of founding member Lumumba
Professor X in March 2006, the great-
est of political, black consciousness Hip
Hop groups has risen again. Original MC
Grand Verbalizer Funkin Lesson Brother J is joined by Ultra-
man Ra Hanna, ACL, DJ Fat Jack, Kumu M. Haynes and
Master China on their newest release “Return From Mecca”
with the message of the Red the Black And the Green still
in full effect.
After the coded shout outs of the intro, track two, “Aragorn,”
starts the album off hard with a heavy organ based beat and
Brother J’s engaging Old School flow, reminiscent of Chali
2na (who is featured on track 13 “Funky 4U”) - but more
slamming. Other collabs include Abstract Rude and dudes
from Kottonmouth Kings and Papa Roach. My favourite track
is the closer “Culture United” featuring Damian “Jr. Gong”
Marley and Brother J kicking very fluent double time.
It’s like that classic Chris Rock quote about conscious rap.
It’s not that people don’t like it, they just don’t like conscious
beats. While the heavy political and spiritual message of X-
Clan may be too much for some, the beats (from a half dozen
producers) are consistently awesome and often pretty fuck-
ing gangsta. Just like how PE were the heaviest shit back in
the day while at the same time being the smartest, X-Clan
demonstrate that culture is back, and it ain’t nothing weak.
By Dave “Corvid” McCallum
Dragonette
Galore
Mercury/UMG
The Canadian/Brit electro-pop outfit, cur-
rently touring with Sugababes, debuted
their single ‘I Get Around’ to a disappoint-
ing chart performance. The darlings of
underground pop critics and bloggers are,
however, being championed by their steadfast fan base. The
80’s sex-sounds of this album are sweet, dirty and strung
together with a decidedly campy music production.
The sound carries the same thread throughout the album
threatening to become boring after a third listen. If the al-
bum is an ironic statement to pop-overkill, going the route of
Right Said Fred, then they hit it bang on and most likely have
a future in electro-pop domination. And if not - well frankly,
it’s a bit disappointing.
Lead vocalist Martina Sorbara, a hot slut who will probably
steal your boyfriend by doing kinky shit with him in the sack
(see ‘Competition’), is both seductive and trashy and she’s
letting all the boys know it. A definitive underground pop-
electro-goddess, some have claimed she is “the missing link
between Gwen Stefani and Dita Von Tease;” she certainly
capitalizes on her dirty-diva lyrics and sound. This woman
obviously carries the band and will most likely go solo some
time in the near future, joining the ranks of the above men-
tioned Stefani and (ugh) Fergie, if not turning into a promis-
cuous version of Kylie Minogue.
Girls, you’ll wish you were her. And guys, you will have your
hands in your pants for most of the running time. Just grab
a sock before you pop it in.
By Frankie Jacks
Mower
Not For You
Suburban Noize Records
Since exploding onto the scene in San
Diego in the late 90s, Mower has done
nothing but gain momentum, fans, re-
spect and recognition. These guys have
toured with everyone from GWAR (my fa-
vourite metal band), to Linkin Park, Staind and Deftones.
Their latest album, “Not For You,” is some of the best new
metal I’ve heard in a long time. Two raging vocalists scream-
ing about everything that pisses them off and telling it like it
is, while the guitars fire away full throttle. “Road Rage” vents
aggression on all the idiots and assholes that think they own
the road. “Undone” makes a good point, saying “The only
rules we need to follow allow us to survive, to breathe, to
feed and shelter,” and going on to point out that the laws the
governments are creating are restrictive, deny us many of
our freedoms and create nothing but contempt for authority.
A few songs even have many more social and political state-
ments to make than that.
Mower have come up with an awesome, cleanly produced
album. Mikey Doling’s production keeps things on track (no
pun intended) and makes sure no one gets lost in the mix.
Even though it’s only their second album, they sound like
they’ve been at it for years (and they have).The album may
be called “Not For You,” but if you like good hard rock or rag-
ing metal this one is definitely for you!
By Jamie Horsley
 Opeth
The Roundhouse Tapes
Peaceville Records
Pioneers of Scandinavian Death Metal,
Opeth have worked hard over the past
15+ years to defy even that genre spec-
ification with their own brand of experi-
mental metal. Incorporating influences
from jazz, progressive rock, blues, and
even folk, (and damn near everything
in between), their first live album, “The Roundhouse Tapes”,
proves exactly what this band can do, play live, play loud
and lay waste to all mediocrity in their path.
The first thing you will notice about “The Roundhouse Tapes”
is how “studio” this two disc set sounds. Its not until the audi-
ence reacts part way through the first track that one realizes
this is fucking live! Recorded at the Camden Roundhouse,
(hence the album name), in London, England in November
of 2006, Opeth offers up a huge sample of what they do
best. With such a wide variety of song styles in their reper-
toire, this album touches on nearly every genre Opeth find
themselves crammed into. With not one single song less
than eight minutes long, this is definitely Opeth in full effect.
Highlights include “When” (off “My Arms, Your Hearse”),
“Bleak” (off “Blackwater Park”) and the incredible “Night and
the Silent Water” (off “Morningrise”) which will leave you with
chills running up your spin. “Ghost of Perdition” is just flat out
fucking phenomenal, resplendent with audience participa-
tion as they sing along with the chorus.
Lead guitarist and vocalist Mikael Åkerfeldt and the rest
of Opeth have truly outdone themselves. This follow up to
“Ghost Reveries” is in many ways the logical culmination of
everything Opeth has done since their first album “Orchid”
in 1994. Definitely not a “run of the mill” live album, this is
one hour and thirty-five intimate minutes of pure progressive
metal euphoria.
By Grimm Culhane
Bishop Brigante
It’s Fo’Twenty feat. Nate Dogg
Bodog Music
Even the hookmaster himself Nate Dogg
(and Bishop’s reputation as a freestyle
heavyweight) can’t save this little shit
nugget from lameness. This is exactly
the kind of derivative mimicry that is soil-
ing the Canadian Hip Hop landscape with
“West Coast beats and East Coast flow” that just happens
to sound like a million other Dirty South anthems by way of
Scarborough Ontario. WTF? I guess it’s about establishing
legitimacy through conformity and not innovation, rocking
the requisite bling and moneystacks, with the same breath-
less blunted flow as Mims, Belly, and all those other useless
fucks.
So “Roll up another Swisher let’s get high…” The greens
as he says may be Westcoast, but true heads know that
candy flavoured wraps only mask the taste of bunk weed
and no amount of media limelight is gonna make this joint
a banger.
Look out for Bishop Brigante’s upcoming album “The Life of
a Gambler”, featuring Nate Dogg and Snoop Dogg, dropping
soon.
Just don’t get splattered…
By Dave “Corvid” McCallum
Blaqk Audio
CexCells
UMG
Anyone who has followed the careers of
Davey Havok, and the rest of AFI, since
their early work in hardcore punk is well
aware that the band have not been strang-
ers to musical mutation and progression.
Blaqk Audio, however, the new side proj-
ect by Havok (AFI’s frontman) and Jade Puget (the band’s
guitarist), is a case study in musical experimentation gone
wrong.
Blaqk Audio is an electronica project, consisting solely of
Havok handling lyrics and vocals and Puget in charge of
synths and production. It’s an interesting idea, and should
certainly be listened to independently of the work both men
have done with AFI, even though a lot of the gothic sensibili-
ties that band are known for are retained here.
But “CexCells” just isn’t good. I get the sense that this re-
cord is fuelled by self-indulgence: with the legions of young
fans hooked by AFI’s latest releases, there is a guaranteed
market for whatever Havok might feel like recording. Think
Euro-trash club techno at its worst, fused with Havok’s vo-
cals at their whiniest. To be fair, Havok is a capable enough
lyricist, but his delivery, which works well on a record like
“Sing the Sorrow,” clashes with Puget’s melodies, which at
times either verge on industrial, or remind me of the shitty
raver techno they blare on certain
rides at a carnival.
I don’t doubt that this album will be praised for creativity and
‘breaking boundaries’ and so on, but maybe some boundar-
ies are left well enough alone
By Derek Leschasin
Kottonmouth Kings
Cloud Nine
Suburban Noize
In case you hadn’t guessed it, the “KK
Clique” are the self-professed Kings
of Weed Rap, “that west coast stoner
clique”, representing for the “smokers,
growers and tokers” around the world. It
is nothing but blunts, bongs and vapour-
izers (and bitches and brews of course) for these glass eyed
gaggerburners, spreading the message of universal perm-
abake to all who will hear it.
At 22 tracks, “Cloud Nine” covers a lot of musical ground,
from Dre-inspired West Coast gangsta paranoia, to rap-
core/metal, to straight up old school hardcore, to reggae, to
acoustic ballads. Lead rapper D-Loc sounds like a less agile
Eminem with competent flows and shout out hooks. The only
major turd is the Willy Nelson tribute “Free Willy”- a little bit
country, a little bit trife-crap.
Honestly, it’s varied, it’s pretty bangin’, it’s got B-Real on it,
and I’m sure they’re great live, it’s just that the whole weed
thing is a bit gimmicky. Of course, that would have been like
telling Johnny Thunders that the whole heroin thing is gim-
micky, so whatever…
Kottonmouth Kings are to weed what Necro is to horror, so
if you want lyrics that are nothing but praise for the chronic,
you’ll love it. Excuse me while I hack up some November
lung butter and light another.
By Dave “Corvid” McCallum
(hed) p.e.
Insomnia
Suburban Noize
(hed) p.e.’s latest album, Insomnia, has
a message and you need to hear it. As
you open the album, the liner notes
next to the CD proclaim in big, bold let-
ters “SICK AND TIRED OF THE STATUS
QUO WE’RE PISSED OFF AND WE’RE READY TO GO.”
The phrase is taken from their song “Habeus” and sums up
the core of what they have to say quite well.
Their sound is definitely rapcore; like rapmetal, but more
hardcore and more rap with lots of punk and a few funk influ-
ences. They remind me a lot of ICP, but not nearly as funny.
For short moments they sound a bit like Korn, but never near
as whiny. A couple songs, especially “Comeova2nite,” just
sound like gangsta rap, and don’t seem to say much more
than gangsta rap ever does. They even do the screaming
punk thing with “Habeus” and “C2GU.” “RTO” features Big B
doing some funky down tempo rap for the verses and then
the (hed) boys go punk for the choruses, which is actually a
really cool infusion.
In “Game Over,” they do the style switching thing again with
verses being rapped to a wicked funk beat and a bridge that
will have you chanting along and a chorus to headbang to.
On top of the cool sound of this song, it’s probably got the
most to say. They talk about why society is as fucked up as it
is, pointing the finger at the government, the war, the media,
Rosicrucians, Freemasons, and pop culture.
The rest of the album is peppered with George Bush quotes,
new clips and a lot of good insight. There are other songs
with other messages, but I’ll leave you to discover them
yourself - it’s more fun that way.
What album of rebellion would be complete without some
gratuitous sex? (hed) p.e. doesn’t disappoint there either.
Kottonmouth Kings and Tech N9ne help out on “Wind Me
Up,” and if you’re into what they’re talking about in “Mirror-
ballin,” this’ll definitely leave you ready for a bit of the ol’
in-out.
While the sound of “Insomnia” is going to appeal to the punks
and the rappers and even the metalheads, the message, ah
the message is for EVERYONE!
By Jamie Horsley
Atreyu
Lead Sails Paper Anchor
Roadrunner/UMG
A little more pop-ish, a little more rock-
ish and last but not least... a little more
gothic? Gothic? Yeah, kind of.
Since releasing The Curse in 2004, it
should come to no listeners’ surprise that Atreyu would go
from a post hardcore/metalcore band to a pop punk band
with bittersweet moments of arm flailing metal.
I am actually fine with this; Lead Sails Paper Anchor makes
for an easy, entertaining listen and I was happily surprised to
see them experimenting a bit more with samples, keys and
strings.
Now signed to Road Runner Records, with Hollywood Re-
cords covering America, this album and label change is a
good indication of where Atreyu is going to be heading.
Vocally more layered than A Death Grip on Yesterday, singers
Alex Varkatzas and Brandon Sailer seem to share the vocal
duties down the middle with Varkatzas much more melodic
then screamo. The rest of the crew holds up well with some
ripping guitar riffs and emotionally powerful breakdowns.
Songs showing off the new direction of Atreyu would have to
be Becoming The Bull, When Two Are One and Lose it.
I wasn’t going to mention this but I have to, it’s just some-
thing that needs to be noted in case anyone actually ever
reads this review. If you’re a band and you think it’s a good
idea to cover Faith No More, please don’t. Don’t even fuck-
ing think about it. I don’t fucking care if Andy Wallace mixed
your fucking album (he mixed this one!). It’s not noted on
the disc itself and not to sure if this is supposed to be some
joke or a special surprise, but this will bring those horrible
childhood “surprises” you pay your shrink $350/hr to burn
out of your head.
By Mark “Mortimer’ David
Iller Than Theirs
Self Titled
Embedded Music
Now this is what I’m talking about - dirty,
down-home dopeness from some seri-
ously down to earth Brooklynites. Iller
Than Theirs is MC’s Tone Tank and
Krayo from BK’s infamous Nuclear
Family (aka Nuk Fam), over beats by J.
Howells Werthman and Snafu of Junk Science, and this is
some of the realest, rawest, humblest and bumpinest shit
I’ve heard in a while.
Inspired by classic 90’s Boom-Bap, ITT stay true to their
NYC roots without a syllable of fake thug posturing, focusing
instead on the richness of human experience, you know –
getting drunk, getting high, getting laid, rocking shows and
keeping it “Ill”. The standout track is “The Same”, which deals
with the gentrification and “Manhattanization” of Brooklyn
through personal reminiscences and features Masta Ace,
dropping in out of cyberspace to rhyme about “back in the
day”. Both Tone and Krayo rock some seriously agile blunted
gravelly flows, free of the cliché’s of those who fake the NYC
accent and comfortable in their unpretentious everyman B-
Boy stance.
The production is consistently dope throughout, full of soul-
ful horns, funk bass, and gritty (but crisp) and classic sound-
ing drums. The whole effort is really fucking musical, catchy
hooks that stick in your head, beats that actually provide
mood and flavour and not just head nod. ITT draw you into a
world where it’s okay to be broke and hung-over ‘cause you
know your bros are always there to pick you up.
This is the record for chillin’ on the couch with the homies
and the dogs, drinking coffee, liquor or both, hot-boxing the
kitchen and doodling on napkins all afternoon. “Everybody
wants ice but nobody wants to fill the tray…” – seems like
Iller Than Theirs have filled the fuckin fridge and drinks are
on them! They sure as hell better come to Canada soon
By Dave “Corvid” McCallum
 WHO: Baroness”Carrie” Von Reichardt, from the Treatment Rooms
WHERE: London, England
WHAT: Mosaic Artist/Designer/Visual Instigator
WHY: Because as a man, you don’t have the gall or balls…she does.
WHEN: I’m afraid we can’t tell you at this time.

The Baroness and Mr Spunky dwell in their home-cum-living art space, in Chiswick.
2006 saw the unveiling of the back wall of the property transformed with a 22ft x 6ft
mural dedicated to the memory of Luis Ramirez, who was executed the previous year
in Texas, a long standing pen pal to the Baroness.
Responding to an advert in The Big Issue, requesting pen pals for inmates, the Baron-
ess embarked on a life changing journey she could have never envisaged. For over
seven years she has been writing to prisoners on Texas Death Row. What started
out as an altruistic act, developed further as she discovered the tragic circumstances
of the people who found themselves incarcerated in Livingston, TX. A visit to Luis
Ramirez two days before his execution cemented her relationship with the people
who’s lives have been forever shaped by the stigma of prison, the justice system and
capital punishment.
This summer, the Baroness returned to Texas, where she witnessed the execution, by
lethal injection, of Ash. Accompanying her on the journey was renowned sculptor and
musician Nick Reynalds, and Paul Blackwood of Punkvert. With Ash’s permission,
Nick, reviving an ancient Egyptian tradition, cast a death mask of him directly after
the execution.
The final cast form will be displayed as part of a major exhibition planned for 2008.
Uncomfortable, and always complex, the issue of state sanctioned murder will be “A death mask, that’s what Kings have.
addressed in the ‘Death Row Show’. The show promises to bring the reality of capital Now I know I’m not trash. I am somebody.”
Ash’s last words to the Baroness
punishment into the public domain. Jake Chapman, Vince Ray and several death row August 29th 2007.
inmates are amongst those confirmed in a growing list of contributing artists.
Incorporating the journey to Texas, and the following art car parade, Punkvert are currently producing their second creative
documentary, 402, in memory of Ash, highlighting the triumphant nature of the human spirit in the face of adversity.
For his wife Linda and their two children it is a chance to honour his memory and ensure that his spirit lives on. Linda Amador
will be flying from Texas to ride in the Tiki Love Truck at the third ‘illuminated’ Art Car Parade in Gateshead on New Years
Eve.
www.myspace.com/treatmentrooms

The Byrds
Under Review
MVD Visual
The Byrds characteristic sound of three
part harmony and 12-string guitar is thor-
oughly analyzed in the new DVD The
Byrds -Under Review, set to be released
date October 7.
Such notables as Byrds bassist John
York, Gene Parsons, Van Dyke Parks,
and ex-Rolling Stone editor Anthony DeCurtis give a lively
commentary on this highly influential band.
Easily the most eclectic band of their time, The Byrds were
always moving ahead while at the same time keeping a
furtive eye on the past. The band grew in 1965 from a folk
music tradition to quickly embracing and becoming involved
in the exploding LA rock scene, influencing Bob Dylan, and
inventing folk rock, psychedelic rock, and country rock along
the way with its versions of Mr Tambourine Man, Eight Miles
High, and Sweetheart of the Rodeo.
The group was a factious unit as during its history it con-
sisted of Jim later Roger McGuinn, David Crosby, Chris Hill-
man, Gram Parsons, guitar player extraordinaire Clarence
White and other notables. So indirectly, Crosby , Stills , and
Nash, The International Submarine Band, The Flying Burrito
Brothers and the Eagles evolved from and were influenced
by the Byrds.
The DVD has archival footage of the band as well as great
stories about the group.
Byrd bassist John York’s commentary is central to the DVD.
York comes across as very knowledgeable and is not afraid
to discuss the negative decisions that were made because
of infighting within the band. His comments concerning fu-
ture cosmic cowboy Gram Parsons are very insightful. York
comes across as a very likeable person who is very believ-
able on camera. One of my favorites, Van Dyke Parks, is
also heavily featured in the DVD. Parks is a veritable en-
cyclopedia of Americana, as well as a great musician and
songwriter, having written music with the Byrds , as well as
having co–written Smiley Smile with then Beach Boy Brian
Wilson and Smile with ex Beach Boy Brian Wilson
This DVD is very well produced and is a must have for any
music fan.
By William “Moose” Roberts
Captivity
Directed By Roland Joffé
Maple Pictures
“To Saw with Love”
Esteemed director Roland Joffé, who’s
first two films (The Killing Fields, 1984,
and The Mission, 1986) both garnered
him Academy Award ™ nominations for
Best Director, plummets to depths previ-
ously unexplored with his latest offering
of “Captivity.” This entry in the “capture-
confine-confound-and-crush” genre regrettably lacks both
substance and originality, leading the viewer down a very
well worn path.
Jennifer Tree (Elisha Cuthbert) is an up and coming fashion
model and cover girl in New York. Stalked and drugged by an
unknown assailant, she awakens to find herself confined to a
cell with no way out. She voices her dissatisfaction with her
situation through good old fashioned pleading and scream-
ing, but to no effect. Her captor subjects her to varied forms
of psychological and sensory torture, such as forced view-
ings of videotapes of previous torture victims and, worse yet,
past videotapes of her own interviews! The horror! Eventu-
ally making contact with Gary (Daniel Gillies), held captive
in an adjoining cell, together they try to find out why they are
being held. Shifty eyed horror veteran and character actor
Pruitt Taylor Vince also makes an appearance in this film.
Like the crucified figure tumbling down the Guairá Falls on
the movie poster for his previous film “The Mission”, director
Roland Joffé has certainly fallen a long way from his aus-
picious beginnings. Liberally borrowing from themes previ-
ously explored and dissected (literally to death) in films such
as “Saw” and “Hostel” and grinding these themes into a fine
powder (that subsequently blows away), “Captivity” has little,
if anything, to add to the fine array of “torture-porn” videos
available to the viewing public.
That’s not to say “Captivity” is half bad… its ALL bad! Tai-
lor made for the burgeoning “fake-snuff-film” auteurs of the
world, the casual viewer is given very little to maintain their
interest in this film. Instead, you may find yourself wondering
what the title “Captivity” is actually referring to, the charac-
ters on the screen or the viewer forced to sit through this?
By Grimm Culhane
Hated: GG Allin and the Murder Junk-
ies (Special Edition)
Directed By Todd Phillips
MVD Visual
When all the blood and feces have been
wiped off the stage, what more can be
added to the legacy of one of rock and
roll’s most notorious front men? More
footage! MVD proudly presents the re-re-
lease of “Hated: GG Allin and the Murder
Junkies.” Not simply a man, but a force of
fucking nature whose name has become legend to legions of
punk rock fans, GG Allin goes under the microscope in this
2007 update of the 1994 documentary (with more footage!)
by director Todd Phillips (Road Trip, Starsky and Hutch).
This documentary of punk’s most prolific purveyor of all
things base and gnarly was filmed just before his death from
a heroin overdose and is easily the best and most graphic
depiction of the rebel without a pause to date. Additional
footage includes Allin’s unique funeral, exclusive interviews
with Merle Allin and Dino Sex (GG’s brother and drummer
respectively), a rare interview with GG’s Mom as well as an
hour of previously unreleased concert footage and interviews
with band members, friends, relatives, fans and foes alike.
It doesn’t get any better than this, the most detailed and inti-
mate footage of GG Allin the world will ever see. Considered
the lowest common denominator of our society by some and
an avant-garde artist by others, his was a life dedicated to
extreme, antisocial behavior that virtually no other rock per-
former has matched, nor ever will. Cavorting with prostitutes,
mutilating himself with sharp objects, physically and verbally
abusing concert goers, performing naked, shitting on stage
and throwing it at the crowd, shooting heroin, picking fights
with the biggest guys in the audience and threatening to kill
himself on stage, its all here.
Praised for its brutal truthfulness, this film pulls no punches
in portraying an American icon at the top of his form doing
the basest of things. Like driving past a car accident, both
fans and detractors will have trouble looking away as this
documentary examines an artist who’s life (and death) was
his ultimate performance.
By Grimm Culhane
Thin Lizzy
Videobiography
KOCH
What is the enigma that is Thin Lizzy?
Certainly, they are one of the most un-
derrated bands to come out of the UK in
the 1970’s. Known primarily for the song
“The Boys are Back In Town,” the band at
times seemed to be a group of individuals
in search of a band. The Videobiography
for Thin Lizzy, by Robert M. Corich, at-
tempts to shed light on the enigma that is
the band. Attempts is the key word, as the band in its heyday
was dominated by a true innovator - Phil Lynott.
Lynott, a rocker in the truest sense of the word, was also a
great experimenter in the Blues, Jazz, and Celtic forms of
music, as well as Western mysticism as in the Old West.
Fools Gold, from the album Johnny the Fox, is as well pro-
duced and dramatic a homage to the Old West as you can
get in rock music. The album Johnny the Fox is certainly the
apex of Lynott’s fascination with early Americana.
However great Lynott was, he was surrounded by players
who were certainly among the most innovative in rock mu-
sic, such as Snowy White, Scott Gorham, Brian Downey,
Eric Bell, Gary Moore and Brian Robertson. Lynott , a heroin
addict who could certainly teach Keith Richards how to get
on one’s knees when looking for a fix, needed to be pushed
by his contemporaries to produce his best work. In the end,
drugs destroyed and ate away at his uniqueness.
Most people never really got close to Phil Lynott. It is very
ironic that the most insightful comments in the DVD come
from his mother. Maybe mothers really do know best.
Lynott’s solo career is not discussed in the DVD. As someone
who is s very well versed in Lynott’s music and poetic lyrics, I
certainly hope a more in-depth look at this unique individual
surfaces . his heyday, and is living in a past that is over and is being
This DVD is not a great look at Thin Lizzy as it glosses over
the surface of a great band. It seems as if it is pure product,
and not much more..
By William “Moose” Roberts
Hard Rock Masterpieces
Various
KOCH
This 4- DVD set, dubbed “Hard Rock
Masterpieces: the essential albums of
all time,” includes Deep Purple’s Made
in Japan, Led Zeppelin’s IV, Thin Lizzy’s
Live and Dangerous and Black Sabbath’s
Paranoid. This is an absolute must for the
music connoisseur. Each disc runs just
over an hour in duration, jam-packed with
goodies the likes of which, until now, have been forbidden
and hidden away from the prying eyes of foolish mortals. It
gives the viewer a privileged glimpse into the lives of these
artists at the pinnacle of their careers.
There is unreleased material a’plenty from all the bands,
which includes rare concert footage, interviews with original
members, analysis and assessments from industry experts,
and secrets, myths and mysteries of the forefathers of met-
al. Overwhelming at times from the continuous barrage of
privileged information, it is indeed an intimate retrospective.
Superlative in content to any previous release in this genre,
the only flaw to be found is that the live material could have
been longer.
Otherwise, this DVD set is as essential to anybody’s hard
rock music collection as owning a copy of AC/DC’s Back
in Black. This unfathomable assortment of the crème de la
crème of rock legends best works is sure to be a cherished
possession of every hard rock music fan for generations to
come. Deprive yourself of this at your own peril. Not to be
missed.
By Jimmy Lynch
20 To Life: The Life and Times of John
Sinclair
MVD Visual
A thought provoking DVD with interesting
comments and great archival footage of
the sixties. After viewing the DVD sev-
eral times, I am convinced that Sinclair
is a second rate poet, a second rate mu-
sician, and a hanger on who was in the
right place at the right time. His poetry
and rants are cheap imitations of Lenny
Bruce, while his musical forays are cheap imitations of Or-
nette Coleman, Pharoah Sanders, and Thelonious Monk.
His being busted with two joints and subsequent sentencing
of twenty years to life brought him to the attention of a true
innovator and experimentalist - John Lennon. In hindsight, it
seems that being busted elevated him to a unbelievale stat-
ure for one of such questionable talent.
Now that the war in Iraq is still raging and very much in the
world consciousness , I find it ironic that John Sinclair is living
in Amsterdam; perhaps still in a sixties induced pot coma.
The DVD shows that Sinclair has not moved forward since
over- romanced in countless DVDs and reissues.
By William “Moose” Roberts
 BOOK REVIEWS
MAD’s Greatest Artists - The Completely MAD Don Martin
By Don Martin
Running Press Book Publishers
MAD’s maddest artist Don Martin is finally commemorated with the release of this impressive new
treasury of works entitled (strangely enough) “MAD’s Greatest Artists - The Completely MAD Don
Martin.” Every piece of art Don Martin published in MAD™ Magazine from 1957-1987 can be found in
this slipcased two-volume hardcover set. All the gag’s, color illustrations, sticker art and sound effect
you’ve come to love (including SHTOINK, FLIBADIP, PAFF and FUNDORT) are here, including your
favourite characters Fester Bestertester and Captain Klutz. At over 1000 pages and 25 pounds in
weight, if you don’t herniate yourself laughing you’ll most definitely herniate yourself lifting the thing.
Accompanying Don’s work is a veritable plethora of forwards, introductions, special notes, original
letters, notes and sketches specifically commissioned for this volume and written by the likes of long-
time collaborator Duck Edwing, cartoonists Gary Larson and Jim Davis, MAD editors Al Feldstein and Nick Meglin as well
as Martin’s MAD men colleagues Sergio Aragonés, Jack Davis, Dick DeBartolo, Mort Drucker, Frank Jacobs, Al Jaffee and
many more.
Witness mans’ relentless relationship with nature as he is pit against a harmless banana peel in “A San Francisco Trip.” See
the henpecked husband deal with an unruly pest problem “One Evening in a Bus Station.” Marvel as a condemned man
turns the tables on his executioner “Early One Morning in South America.”
This collection easily makes other collections seem like they should be at the curb waiting for collection. Its not surprising
Don Martin received the National Cartoonist Society Special Features Award for 1981 and 1982 and was inducted into the
Comic Book Hall of Fame posthumously in 2004. His was a special talent the likes of which we may not see again.
This is truly great stuff! “MAD’s Greatest Artists - The Completely MAD Don Martin” would make a welcome (insert holiday)
gift for any MAD™ Magazine fan, Don Martin enthusiast or weightlifting third cousin allergic to chrome on your (inserted
holiday) list.
By Grimm Culhane
The Collector’s Guide to Heavy Metal, Vol. 3 - The Nineties
By Martin Popoff
Collector’s Guide Publishing
With an already impressive list of books to his credit, scads of written reviews that
must reach from here to fucking Mars, (and back!), and one of the nicest guys ABORT
Magazine has ever had the privilege of hanging up on, (twice!), the unstoppable editor-
in-chief of Canada’s most successful heavy metal magazine, “Brave Words & Bloody
Knuckles”, Martin Popoff is back with his latest book, “The Collector’s Guide to Heavy
Metal, Vol. 3 - The Nineties”.
Ten years in the making, (since most decades are 10 years long when last I checked),
this third installment of Martin’s incomparable Collector’s Guide to Heavy Metal series
is his most comprehensive yet. With over 3000 album reviews covering every heavy
metal genre and sub-genre released in the 90’s, (as well as a 15 track CD of 90’s rari-
ties), this guy is truly possessed! Who in their right mind has the time or wisdom to take
on such a task? With 30+ years of musical knowledge, 19 published books to his credit,
(at last count), a successful magazine under his belt and an arsenal of adjectives that
would put even the most scholarly metal-head to shame the answer is simple, Martin
Popoff.
From Lee Aaron’s “Some Girls Do” to ZZ Top’s “XXX” and everything in-between, (along
with more than a few you’ve never heard of before, but will end up tracking down be-
cause someone smarter than you recommends it), this is the ultimate guide to what
metal you should, (and in some cases should NOT), be listening to from the 90’s. You
may find yourself questioning some of the albums selected for this book as far as their
place in the dysfunctional “heavy metal” family goes, but the sheer joy of reading Martin’s reviews and insights will make
that a mute point.
Quick, smart and hilarious throughout, Martin Popoff’s “The Collector’s Guide to Heavy Metal, Vol. 3 - The Nineties” is easily
the only reference guide to 90’s heavy metal music you’ll ever need.
By Grimm Culhane
Shouts From the Gutter
by Chris Walter
Go Fuck Yerself Press
It’s no coincidence that local Vancouver writer and tattooed punk rock aficionado Chris
Walter shares a birthday with noted author Charles Bukowski; these two have much in
common. Dissatisfaction with the status quo prompted both to communicate a vision of
a reality ignored by most everyone. Their “everyman” approach to writing records the
decline of civilization from the vantage point of someone hopelessly caught up in that
same decline. Bukowski and Walter were similarly forced to share their literary styles
and blunt language the only way they knew how, through self-publication and in under-
ground magazines and presses.
Chris Walter’s latest book “Shouts from the Gutter,” (released on his own Gofuckyerself
Press), is an impressive collection of short stories that range from hilarious to heart
breaking. These tales are written from the vantage of someone who’s actually been in
the gutter, stared hard into the face of oblivion and, having survived the ordeal, returned
to shout about it to anyone who’ll listen and listen you should! This is extremely topical
stuff written with a deep knowledge of his subjects and more than a little autobiographi-
cal content as well. Although not delving too deeply into any of his characters’ persona
s, this doesn’t take away from the stories or characters in the least.
Its the situations themselves that truly define the characters in these stories. Anyone
trying to survive the daily Armageddon of Vancouver’s East End is fodder for Chris’ pen,
as are disgruntled shopkeepers, hapless cretins, scheming pushers and junkies of all
description. One unique and memorable story in this collection does manage to lift its head from the urban garbage can
setting and transports the reader into the squalor and miss treatment of free-range clowns in a futuristic totalitarian circus
setting. Sadly the lesson I gleaned here is that its sometimes easier to accept your fate rather than try and change it.
This book sheds light on subjects and situations some people don’t necessarily want to see. Like turning over rocks on the
beach, Chris forces us to watch as the creatures scramble to get under the next rock with fascinating results. I highly recom-
mend “Shouts from the Gutter” to anyone with a social consciousness and a penchant for good story telling.
By Grimm Culhane
The Beats
By Mike Evans
Running Press
The Beats is the title of a book that explores the period when the conservative sameness of
late 40’s and 50’s America imploded and eventually exploded into the mid to late 1960’s anar-
chy and creativity.
The Beats were artists, writers, poets, painters, musicians and an odd assortment of talented
individuals who through experimentation and an attitude that since no medium existed for them
to express themselves, invented their own medium. The book is a fabulous find. It is well writ-
ten, well chronicled and well indexed: as well as having an extensive bibliography. Some of the
Beats are well known to anyone who is familiar with the Beat Generation. Jack Kerouac, Alan
Ginsberg, Neal and Carolyn Cassady, and the true instigator of structured mayhem: William
Burroughs.
The photographs in the book are devastatingly good, and in actuality, perform a pictorial of the Beats that can rival any writ-
ten insights eschewed in the writing.
The Beats is in chronological order and it delves into the early lives of Kerouac and the other well known characters such
as the Cassady’s, Ginsberg and of course - Burroughs.
Much has been written about the aforementioned characters ; however, many more talented and influential artists were
influenced by and influenced the Beats in return. Miles Davis, Dizzy Gillespie and Charles Bukowski figure predominately.
Davis and Gillespie actually played and wrote some of their ground-breaking be-bop syncopations based on the rhythms
that Kerouac used in his writing
William Burroughs, easily a maverick among a group of mavericks, figures predominately in the book. To this reviewers
mind, Burroughs is certainly one of the most influential writers of the twentieth century, not just for his wonderful innovative
and realistic style, but also because of his being a major influence on the drug culture in the second half of the twentieth
century
The Beats always challenged themselves and always wrote and honed their individual crafts as if the works being created
had an urgency akin to bullfighting.
By William “Moose” Roberts

FILM REVIEWS
The Mist
Directed By Frank Dara-
bont
Dimension Films
Go with what you know. A
simple adage to be sure,
but for director Frank
Darabont going with what
he knows has repeat-
edly turned into box office
gold. What Frank knows
is how to translate Ste-
phen King stories for the
big screen and he does it very well. Take his lat-
est film “The Mist” for example. This is the third
film Frank has directed from a story by Stephen
King and their forth collaboration overall. The first
two films, “The Shawshank Redemption” and
“The Green Mile,” were both major successes,
but could he do the same with a story by King
that doesn’t take place in a prison? The answer
is a resounding yes!
After a major storm thrashes a town in Maine
(where else?) a creepy cloud of thick and un-
natural mist rolls in the next morning envelop-
ing the town. Scared and discombobulated,
the townspeople converge on the local grocery
store to assess the situation. They soon discover
they are trapped, for the mist carries with it all
kinds of horrific, otherworldly beasties just wait-
ing to munch down on some screaming humans.
Where did the creatures come from? An inter-di-
mensional rift? Military testing at the local base?
Hell hath indeed come to “Fogtown” and as the
world crumbles around them the townspeople
are forced to face-off against each other before
finding a way to survive this new and apocalyptic
disaster.
Thomas Jane (Magnolia, 61*) gives a pretty pe-
destrian lead performance as David Drayton,
the artist and father who initially discovers the
creatures lurking in the mist. His young son Billy,
played by Nathan Gamble (Babel), is also fair to
middling, but its Academy Award winner Marcia
Gay Harden (Pollock) and actor Toby Jones (In-
famous) as Mrs. Carmody and Ollie respectively
who clearly steal the show… until the special ef-
fects kick into high gear. Those you have to see
to fully believe, phenomenal!
Special effects aside, this is some creepy ass
shit! King and Darabont’s collaborative efforts
pay off yet again with this well crafted and genu-
inely scary film. Going with what you know sure
pays off for some people, these boys have the
box office receipts to prove it.
By Grimm Culhane
Punk’s Not Dead
Directed by Susan Dyn-
ner
Aberration Films
Those seeking the true
grit and grander of punk
rock and it’s infernal leg-
acy need look no further
than Susan Dynner’s new
documentary, “Punk’s
Not Dead”. Her extensive
study of how punk rock has emerged from the
underground to the mainstream is both an invigo-
rating historic look at the genre and a condemn-
ing statement on an ignorant music industry.
This veritable who’s who of punk rock contains
both archival and new interviews with punk rock
performers, music journalists, and others. Perfor-
mances and behind-the-scenes footage includes
The Ramones, U.K. Subs, Social Distortion, Joey
Shithead and Mike Ness to name but a few.
Punk rock is about rebellion, the honesty of anger,
saying whatever the fuck you want and looking at
the future with blood coloured glass in your eye.
Punk rock isn’t about garnering praise or tapping
your toe to a Nissan Pathfinder ad. Its a gun in
your face held by an unpredictable foe, you never
know if or when its going to go off. Yuppies danc-
ing to Pennywise? The Offspring on MTV? Punk
rock clothing sold at Macy’s? None of these things
would have been remotely imaginable if it weren’t
for Nirvana’s prophetic release, Nevermind. 1991
became the year to never mind. Never mind ig-
noring punk rock. Never mind avoiding corporate
influence. Never mind the rebellion. It seems that
the acceptance of punk rock as mainstream was
only a generation away from it’s late 70’s roots,
go figure. As Jello Biafra puts it, “The music was
so intense it delayed the inevitable mass em-
brace. The music was too good not to.”
With “Punk’s Not Dead” director Susan Dynner
gives us far more than just an interesting history
lesson, she gives us the heart and soul of what
“being” punk rock is truly about. Punk is simple,
punk is plain, punk is about getting to the root val-
ue of doing exactly what you want. Who doesn’t
like that?
By Grimm Culhane
War Made Easy: How
Presidents & Pundits
Keep Spinning Us to
Death
Directed by Loretta Alper
& Jeremy Earp
Media Education Foun-
dation
When war looms on the
horizon and we huddle
around our televisions
soaking it in are we truth-
fully informed by mass media or are we victims of
mass propaganda? This question is extensively
explored in the new documentary by Loretta Alp-
er & Jeremy Earp called “War Made Easy: How
Presidents & Pundits Keep Spinning Us to Death.”
Narrated by Sean Penn and using excerpts from
interviews and archival footage of such notables
as Barbara Lee, Robert McNamara, Bill Clinton
and Lyndon Johnson (to name a few), the facts
behind how the US military uses the media to
sell war to Americans are finally brought to light.
From justifying war as a support of democracy to
the altruism that dropping bombs saves lives, no
stone is left unturned in this revealing and dis-
turbing documentary that gets to the heart of how
war is made acceptable when spun correctly.
Propaganda is nothing new. While the media
sets the agenda for war, stressing military per-
spectives before any fighting takes place, the
modern military propaganda machine is finely
tuned, working within and using the present
media state to its full advantage. The media be-
comes “team players” with the military, running
counter to the idea of independent media and
perpetuating war as a rationale for peace. This
media military mind set, making war virtually in-
evitable as critical analysis disappears, is based
more on television ratings than it is on objectivity.
At the same time military officials blow smoke to
cloud the real issues, leaving out key facts and
framing issues narrowly which the media simply
regurgitates verbatim. The idea of a liberal me-
dia becomes non-existent when being “pro-war”
means you are objective while being “anti-war”
means you are biased. Hello Mr. Orwell!
Based on Norman Solomon’s book of the same
name (and with ample commentary from the au-
thor himself), “War Made Easy” exposes how
the military and media package and sell war to
the public with little regard for moral obligation
while voices of opposition are silenced as “anti-
American.” If the media doesn’t raise questions
about the rush to war and simply supports policy
is that not itself bias? Subsequently, this lack of
accurate or even “honest” reporting does not al-
low the U.S. public to react knowledgeably. While
the international press questions U.S. military
and media claims, the national press questions
nothing out of fear of exposing truths and being
ostracized for it.
This documentary is hopefully the first step in
educating those who follow both the media and
the government blindly, leaving the true nature
of democracy twisting in the wind. Highly recom-
mended!
By Grimm Culhane