November 2016 issue by CV WorldWide Magazine

NOVEMBER 2016

THE Lifestyle Magazine for Custom Vehicle & Music Enthusiasts

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There is an old saying which claims that great art is 90% perspiration and 10% inspiration. The truth though is that exceptional creativity is nurtured by a complexly brewed combination of unswerving dedication and God-given talent. It’s a fact no better illustrated than by the history of Vancouver’s hard-rock icons ART OF DYING and their talismanic front man Jonny Hetherington. We had a chance to sit down with Jonny and talk about the new album, the tour and what they have planned next. Page 6

Contents... Art Of Dying : Nevermore Album Review By Tim Cheney

The Adarna: Life On The Road Journal Part 2

Order in the Chaos:

Page 30

Guitarists: In Search Of the Ever-Elusive Title of “Musician.”

HAIR TRIGGER: A Comic from Anthony Hitaffer

CV WorldWide Magazine

Jamie Paullus Jamie Paullus continues to WOW our readers with the BEST Spokane has to offer - this month: music greats Lita Ford & Avatar

Locally Owned / Nationally Known

Sherry Keith Mystic Photography continues her up close and personal view into the Vegas music scene with Art Of Dying & Children 18:3 Page 12

proval. Publisher assumes no financial responsibility for the errors in ads beyond the cost of space occupied by error. Publisher is not liable for: any slandering of an individual, or group as we mean no malice or individual criticism at any time; nor are we responsible for the opinions or comments of our columnists; and promises, coupons, or lack of fulfillment from advertisers who are solely responsible for the content of their ads. Publisher is also to be held harmless from: failure to produce any issue as scheduled due to reasons beyond control; all suits, claims or loss of expenses; this includes but is not limited to, suits for libel, plagiarism, copyright infringement and unauthorized use of a person’s name or photograph.

AMARANTHE have dropped the video for their latest single "That Song" from their epic and gloriously over-the-top new album MAXIMALISM. Their record is out October 21st on Spinefarm Records and finds the band further expanding its pop x metal hybrid style. The album is full of songs so catchy that they embed themselves in your brain for hours and "That Song" is easily one of the most memorable Amaranthe songs to date. The band has this to say. "What song? 'THAT song'! Our very first single and video from our brand new album 'MAXIMALISM' is now out! Representing a fresh and new take on the Amaranthe sound, it is part of the wide spectrum of the diversity that is 'MAXIMALISM'. The video represents the struggle that comes with following your dreams no matter the costs. Even if you are on the downside of life, one day there will be a turning point when it all becomes clear - to the sound of 'That Song'." The clip was directed by fellow Swede Patric Ullaeus and features high-energy visuals that mix a gripping narrative with performance footage. The storyline finds the members of the band playing a variety of roles as musicians in blue-collar gigs at the crossroads in their lives.

KILLER’S CONFESSION, the new project of former Mushroomhead vocalist Waylon Reavis, has announced that KORN guitarist Brian “Head” Welch has tracked guitars for a guest appearance on their debut single “A Killer’s Confession”, which will be released to digital retailers on Halloween. The eponymous track comes from the debut full-length LP, UNBROKEN, being released February 17, 2017 via (Megadeth bassist David Ellefson’s) EMP LABEL GROUP/eOne, with album art being done by legendary horror artist “Mister Sam” Shearon, responsible for artwork for Rob Zombie, Fear Factory, Rammstein, Iron Maiden, Arise In Chaos, Clive Barker (Books of Blood, Hellraiser), IDW Publishing (KISS, MARS ATTACKS, THE X-FILES, JUDGE DREDD) and more. The band also released an instudio behind the scenes video this week, filmed at Richmond, KY’s Third Sky Studios by Drew Fortier, and featuring co-producers Reavis and Thom Hazaert, and engineer Richard Easterling (American Head Charge, Emporers and Elephants, Doll Skin, Muse) . From Waylon Reavis Facebook, “So in case you missed it (check out my last live video to find out more), my brother Brian “Head” Welch has graciously recorded guitars for a guest spot on "A Killer's Confession", the first single from the upcoming A Killer's Confession album UNBROKEN!!! I can't BEGIN to thank him enough for his incredible support! (And I can't WAIT for you all to hear it!!) The video can be viewed at the following location: https://www.facebook.com/ WaylonReavisAKC/videos/1424180714263094/

UNBROKEN is available for pre-order at the following location: http://empmerch.com/product/killers-confession -early-bird-cd-pre-order/ Additionally, A Killer’s Confession has announced its first live show, December 17th at Cleveland’s AGORA, with special guests DEAD BY WEDNESDAY, and the band’s lineup as follows: BASS & VOCALS / H7 (Florida) | GUITAR / M-47 (Illinois) | GUITAR / Section806 (Illinois) VOCALS / The Confessor, Waylon Reavis (Ohio)

<CV> Let's start off with introducing the band and their roles <JONNY> Jonny Hetherington - Singer Tavis Stanley - Guitar Cale Gontier - Bass Cody Watkins - Drums <CV> I understand you formed in 2004 in Vancouver BC, tell us a little about that. <JONNY> The band became Art of Dying in 2004 when we were making the self titled album in Vancouver. This line up solidified in 2008 just before hitting the road with Disturbed except for our newest member Cody Watkins (long time stage manager and tech) who joined in early 2016. <CV> Tell us how you came up with the name for the band? <JONNY> It was one of those late night philosophical conversations over drinks, diving into the big questions, why are here, what are we here for and what happens after death. From the moment you are born you are on a path to your death. That really puts an importance on what we do with our time in between, how we spend it and who we spend it with. That's where "The Art of Dying is my life to live" quote comes from and we have adopted that as our creed. <CV> Give us a little background on each member <JONNY> I grew up in small town Alberta and moved to Vancouver to grow my music. Tavis grew up in a small BC mountain town and

followed his music to Edmonton and Toronto. Cale and Cody are from the infamous town of Norwood Ontario, home to Three Days Grace, My Darkest Days and now half of Art Of Dying. I met Tavis and Cale in Toronto when they we're playing in Ian Thornley's band. <CV> What brought you all together and how did you know this was a perfect fit? <JONNY> When Disturbed offered us a spot on their tour in 2008, I knew we had to step up our game, so I reached out to Tavis and Cale and we jumped on tour together. It was amazing, as we had never rehearsed together, jammed or even been in the same room with instruments. But when we stepped up on stage for our Soundcheck and started harmonizing together, I knew it was something very special.

<CV> What got each of you into music and at what age did you know this is what you wanted to do? <JONNY> I think we all were very musical at an early age. I've been singing since before I could walk and I've simply always known that it's my thing. When you grow up in a musical family it's very natural. <CV> Who would you consider your biggest music influences and why? <JONNY> Pearl Jam, Alice In Chains, Stone Temple Pilots, SoundgarDen, pretty much all the music of the 90s blew our minds, and nothing has ever really come up since that has such a raw and honest quality. <CV> Tell us about your very first show together, how did it go and how were you received? <JONNY> Our very first show together was in Calgary at the University bar. It was basically for friends and family, but it was an amazing chance to get to know each other on stage. If I remember correctly we were direct support for a Guitar Hero completion. Lol. <CV> I understand you have a new album â&#x20AC;&#x153;Nevermoreâ&#x20AC;? that came out last month. Tell us about that and how it is being received. <JONNY> We're extremely proud of this group of songs and it's being received amazingly well. Fans are raving and so are critics, so that can't be a bad thing. <CV> Give us some insight on the song and music writing process; is it a joined effort or does one person do all the writing? <JONNY> We do it all, separate, together on skype from different countries, what ever works. We worked with an amazing producer, Mark Holman, who has become our brother from another mother and really dove in hard on this record.

<CV> Tell us about the recording process, anything you like or dislike? <JONNY> I loved recording this record. There was a fluidity to it, I don't want to say it was easy, just very natural to make. <CV> What is the motivation behind the songs you write? Do any of them speak to you on a personal level and if so why? <JONNY> I tend to write about life and how I'm feeling that particular day, and when Tavis and I, or the whole band writes together, it's all coming from our collective brain, or heart or whatever. I guess that's why we're called a band, as we look out for each other, help each other when we need it and the music reflects that brotherhood. <CV> Tell us about the music industry today and where you think "Art Of Dying" fits in? <JONNY> I think we are one of many great bands that really play, sing and write our

hearts out. We've been on massive stages and tiny stages and give it our all every night for the DieHards and fans that grace us with their presence. We've been down the major label road, the indie label road and we are back at the helm of our career now with NEVERMORE coming out on our own label which gives us a sense of freedom and control. Where do we fit in? Who knows. <CV> What are your thoughts on the use and necessity of Social Media? <JONNY> I love interacting with our fans on social media, that is the big plus. The minus is being a bit of a slave to these monster corporations and their rules and changes. It's frustrating to build a huge audience and then have it shut down overnight. (MySpace) or build a huge following on a platform like Facebook and then be asked for money to reach those fans. The only thing that still works amazingly well for bands is an email and newsletter list. So please sign up atwww.artofdyingmusic.com to stay in the loop with the band directly. <CV> How do you feel about music download sales, would you prefer a return to CD's and Vinyl? <JONNY> I think it's all preference at this point. I like it all. It's amazing to be able to think of any song ever written and have it cranking through your speakers a moment later. But, we have to make sure our artists are taken care of so they are able to continue making the music we love. <CV> You are currently on tour, how is that going and do you have a favorite place to play and why? <JONNY> This is our first headlining tour in the USA. After playing on bigger stages with bands like Avenged Sevenfold and Disturbed, it's amazing to play longer sets in smaller clubs. I'm really looking forward to our show at the Machine Shop in Flint MI later this month, such a great place for rock and roll.

<CV> What can fans expect to see at an Art Of Dying Show? <JONNY> High energy, lots of 3 part harmonies, usually an acoustic breakdown of one or two songs. David DRAIMAN from Disturbed calls us "Eagles in Chains" referencing our harmonies and 90s influences. <CV> To Date, is there any one show that is memorable for you and stands out and why? <JONNY> So many great ones. Just the other night the guitar rig went down in Colorado, so we played Best I Can at the front of the stage with no mics and just an acoustic guitar. The crowd sang it louder than us. Was a pretty special moment.

<CV> Where do you think you are in the journey of Art Of Dying. <JONNY> We've spent 8 years building and I feel like we are in the best place of our career both musically and in business. I think people can expect releases from us more often and more touring to support that. So in respect to a journey I think we are at the foot of a new mountain and we are ready for the climb. <CV> What do you like to do in your down time? Who do you like to listen to? <JONNY> I listen to a lot of lower key stuff at home. Frank Sinatra, Damien Rice, a lot of classical. <CV> Are any of you involved in any other projects and if so tell us about that. <JONNY> Cody plays in a band with his brother back in Peterborough called Crown Rivals. When I'm home I'm knee deep in habaneros at www.jonnyhetheringtonessentials.com. <CV> Are your families supportive of your career?

<JONNY> After 40 shows we head home for Halloween. Then have a little time off before ShipRocked 2017.

<JONNY> 100%. <CV> What advice would you give a band just starting out?

<CV> What would you like to say to your fans and our readers?

<JONNY> Do it with your friends. Take risks. Write crazy shit and write a lot. Buy a tuner.

<JONNY> Thanks for being on this journey with us. The rock and roll community is a really amazing circle and we feel fortunate to be out here doing this.

<CV> What is your favorite thing about being on stage? What motivates you to do what you do?

Thank you also to the #Diehards and #Shiprockers that we've seen on this tour! Simply amazing support.

<JONNY> Letting loose, getting lost in the moment and in the music. Seeing faces in the front sing along. Meeting people after the show and getting to hear how the music has affected their life. <CV> What does Art Of Dying have planned for the rest of 2016? Any other tours or projects in the works?

Album Review Of Art of Dying's Newest Album Nevermore The Rock scene in the last decade or so, has been a minefield littered with bands trying to compete by attempting to be the most “Brootal” or has the singer who can scream incoherently for the longest amount of time. Even the most hardcore Metal fan will get tired of that after a while. Listening to Art of Dying’s new tracks from the new album Nevermore, was refreshing to my ears however. Everything I like about Rock, this release seems to have. Guitars, drums and MELODY…….I know right? I’ll start by mentioning that the singer can actually sing and on key no less. The vocals on Nevermore are the first thing that grabbed my attention. His voice is on the mark consistently. I was thrilled to listen to something new that didn’t sound like the singer was being sodomized with a crowbar. Among the pleasantries was the order of the tracks. I immediately could imagine the opening track “All or Nothing” being the first song in a live concert. Truth be told, I’d buy a ticket to see the band live based on that song alone. Among the things that stand out about Nevermore, is that the songs do not all follow the same formula. Art of Dying have thankfully avoided the trap of following a formula for every song. As good as the opening track is, it would have been all too easy to follow that same style throughout the album. It makes it so much easier to listen to the entire album. It’s sadly a lost art among bands to have every song stand on its own and know how to place them in the correct order. For example, the least impressive track on the album in my opinion, is a song called “Paradise”. It’s not the first nor the last track. “Paradise” is

not a bad song just not the strongest so it’s placement makes sense. Nevermore Starts with the right song and ends with the right song. That brings me to the title tracks “Nevermore”. This song is structured brilliantly. When artists tell me “Yea I wrote that song in 5 minutes” It takes all my inner strength to not blurt out “YEA I CAN TELL” “Nevermore” on the other hand is structured and pieced together well. My only critique is oddly that I think the song could have gone on about a minute longer. That’s strange coming from me because usually I’m the thinking to myself that bands should learn when the song is over. The song really is good enough though that it could have used that extra minute. One last chorus perhaps after that very well played solo. At the end of the day this album is worth buying. Great musicians and song writers all the way around. Since writing for CV Worldwide, this is the first band I’ve reviewed that I was not familiar with at all. Having no preconceived notions about what I was about to listen to, I can honestly say I was pleasantly surprised considering I find most new bands to sound like carbon copy regurgitated garbage. Tim Cheney Album Reviewer/Contributing Writer

NEW YEARS DAY are about to embark on the "Retrograde" tour with Crown The Empire and The month long North American trek will see the band supporting their latest release, Malevolence and will be their first tour in the US since May of this year.

Upstate Concert Hall Sunday, November 20th - Worcester, MA @ The Palladium Monday, November 21st - Baltimore, MD @ Sound Stage

Friday, November 4th - Pomona, CA @ Glass Tuesday, November 22nd - New York, NY @ Irving Plaza House Sunday, November 6th - Sacramento, CA @ Ace Wednesday, November 23rd - Philadelphia, PA @ Theater of Living Arts of Spades Tuesday, November 8th - Salt Lake City, UT @ Friday, November 25th - Richmond, VA @ Canal Club The Complex Wednesday, November 9th - Denver, CO @ Sum- Saturday, November 26th - Greensboro, NC @ Greene Street Live mit Music Hall Friday, November 11th - Lawrence, KS @ Grana- Sunday, November 27th - Atlanta, GA @ Masquerade da Theatre Saturday, November 12th - St. Louis, MO @ The Tuesday, November 29th - Ft. Lauderdale, FL @ Revolution Ready Room Sunday, November 13th - Chicago, IL @ Bottom Wednesday, November 30th - Tampa, FL @ The Orpheum Lounge Monday, November 14th - Pontiac, MI @ The Friday, December 2nd - Houston, TX @ Scout Bar Crofoot Wednesday, November 16th - Pittsburgh, PA @ Saturday, December 3rd - San Antonio, TX @ Alamo City Music Hall Mr. Smalls Friday, November 18th - Toronto, ON @ Opera Sunday, December 4th - Dallas, TX @ The Door House Saturday, November 19th - Clifton Park, NY @

Life On The Road Through The Eyes Of William Moor Of "The Adarna" From Their Recent "Jet City Tour" Part 2 Will: 3:02 AM 8-20-16 Rochester, NY One quick story before I go to bed, yesterday August 19 was my birthday and I'm grateful that I get to spend it with people who I love and care about. So in true fashion The Adarna during the song “These Monsters” (while I was getting my hardcore-moody-lead-singer-slow-song mode did a wardrobe change behind my back to reveal all three members in jerseys. Now you probably don't know this about me but I hate seeing jerseys on stages. It's nearly as bad as the band wearing their own band T-shirt on stage. I couldn't help but laugh during the most poignant part of the song. I love these fucking goofballs. As a bonus I got to hear Rochester sing me the happy birthday song. I'm off to pound some wine and wake up in five hours. I bid you a dieu zzzzzz

Andreka: The acoustic show went over well. Though we used different equipment, I can get used to it pretty quickly. I thought it was fun playing a new guitar and playing outside, even though it was a million degrees. The Pineapple Jack’s show was amazing. It was the one and only time we got to wear jerseys on stage. Will absolutely hates jerseys on-stage, so when we put them on during the beginning of “These Monsters,” I think he was pretty mad, but he laughed about it after that.

Oliver: Those five-song acoustic sets are really easy to do. It’s a tiny challenge to play a different bass. If you have the skill set to play an instrument, it shouldn’t be a huge chore to play some-

thing different. It almost be kind of like a be a fun, welcomed event. I didn’t mind playing the bass that I played. Sometimes it sounded great, and there were a few moments where I was like ‘Hmm, I don’t know what that notes is, but it’s a little ‘turdy.’ But those are really easy. The full-on electric set at Pineapple Jacks’ was really cool. I enjoyed that a lot. It’s a great big place, huge stage, tremendous sound … just a GREAT club to play. If you’re a touring band and you’re good at what you’re doing, that stage is completely set up in every way for a band to possibly succeed.

would be brutal for even the most seasoned pro, but knowing the length of these shows truly puts how grueling this tour was over the last week into sharper focus.

After the two gigs in the aforementioned Rochester (one an outdoor in the early evening, and the electric set at Pineapple Jack's), it was off to a private event held outside of Syracuse, NY in an outdoor tent -- where the band played a three-hour set with only two minor breaks in sweltering heat. There was great food, and an individual whose enthusiastic response to the band was such, that it provided the best line of the tour I have heard so Murdock: The Rochester experience was too far from Moore: "If he could, I think he would try quick. Every time I go back there I have my “A- to crowd-surf himself." list” of people that I like to see, and I didn’t get to Will: Aug 20 - That was officially this most taxsee them all. I know I have a lot of other trips ing show of the tour. We were completely knackthere, but that part wasn’t great. The two shows ered going into the set but my team powered were fine. I kind of felt that The House of Guitars through. Three+ hours of music for anybody is a show was kind of weird. It wasn’t really attended, lot to ask, it’s even more to ask if it’s outdoors. I don’t know if it was really promoted, but seeing Something that helped make the event feel even the House of Guitars was really good. I mean, more special was a couch surfer host, Brad Clarry that’s a staple from my childhood. I started going from Syracuse, was able to attend the BBQ event. there in middle school and started buying gear, and concert tickets. Being in Rochester too, my best friend recently passed away in June and he and I used to go to the House of Guitars in middle school. The next morning I stopped by and said hello to his parents before we shoved on to Syracuse. My college friend and my high school friend, he made it out to the show. So there was a mixed bag of emotions; There were my parents and I love to see them, and it’s great to see my friends, then there’s sorrow. It was bittersweet. Aug 20, 2016 - West Monroe, NY - When I first heard that vocalist William Perry Moore refer to himself in an email as a "Vocal Viking," I felt the title was somewhat presumptuous. It's interesting to watch your perspective change before your eyes when you spend a lot of time with someone. I would not only agree that the title is appropriate, but I would also say that EVERY member of The Adarna could lay claim to the title of some nomadic force that is predicated on taking over new lands -- even the "chick in the band." Travelling thousands of miles to play five shows in four days

It’s wonderful to see how this Craigslist BBQ show that was a result of an ad was combined with a couchsurfer request from 2 years ago. Amazing to feel how the internet can help make these invisible connections come to light between people. Andreka: I think some of us actually napped a few minutes in-between sets, and I’m pretty sure we did die and then came back to life. That was a really tough one. It was 95-plus degrees and it was a three-hour set; but when it’s time to rock, you rock. It was the most tiring set, and the weather alone was so excruciatingly hot. I think the water and the beer helped us out. Murdock: I wouldn’t call it bad. It’s just that circumstantially it landed in a bad spot. We were just finally getting caught up on sleep, we started the tour exhausted and it was finally starting to catch up. But I did sleep many hours Friday night, because I had to get up and visit more people and that was essential. Lack of sleep, get out in the sun, it’s hot, you’re already tired. I had to take a 10-minute nap between sets just to try to recoup whatever I could. My numbness was coming back in my hands because I hadn’t slept. It was more circumstantially just a downfall gig. Overall it was an interesting gig and I think worthwhile. I think it was a good alternative to what wedid before. Also we were being served a gallon of rum with a splash of coke. I drank water to recover. I hate to use a baseball term, but I was just throwing on the ball I could; spit, whatever, just to get through the gig. Oliver: To handle it all I drank. I drank a lot of water, drank a lot of juice, towards the end of the set I ended up drinking a lot of rum and coke as well. That was an excellent freebie by the host of the party. As a party, I thought it was a lot tamer than it was going to be for an outside family barbecue. A fun time to sway to the house parties’ wants and needs because they’re paying you excellently, so the little things that you have to detour around and do, and not do, I didn’t really mind at all. But playing in 95-degree heat and

100% humidity -- because it did rain twice, and I’m calling that a scientific fact -- that that is a hard thing to do in upstate New York in the middle of the day. The hottest times of the day to play three hours of music, and to look like you’re maintaining you shit is difficult. I’ve played house parties before, but never to that difficulty and that kind of heat. AUG 21, 2016 - New London, CT - From there it was back to the beloved van "Denty," where the sun came down as everyone tried to catch a few winks while driving another 3 1/2 hours. Arriving at our destination, everyone was beat, but too energized from the cat-naps they got. Finally going to bed, everyone was finally able to get a "lengthy" night rest. It was up and off to New London, CT, to play at 33 Golden Street. A place covered in The Misfits and other punk-icon imagery, it was for the final show before the beloved day off. Though the band was on, the many sleepless nights and hours on the road were beginning to wear on everyone. The band was on, but their joints were numb. Moore's vocals were in a lower range. Still a great performance, but rest was clearly needed. 3 1/2 hours back to where we are staying, and then off to New York City! Andreka: We love playing at that venue. Craig McCallister (booking agent) is a really good guy, he takes really good care of us and we have a lot of fun there. Advice for bands: as far as all of the driving and all of the shows so close together, try to avoid it. Murdock: I had an eerie experience re-visiting this town. On our past visit, 2 years ago, I acquainted with a local artist and recovering addict. She was the case of a great mind trapped in a struggle with demons I was not privy to. It happens so often that you meet a person you have an unspoken connection with. On that visit we stayed up for hours talking about all kinds of life and crazy stories and the conversation flowed without resistance. We kept in touch for about a year and suddenly she disappeared. Social media, email, and text went dark. Locals who knew her have also lost touch. I had a slight hope she might re-appear

that night, but that was far fetched. I hope she days. Unfortunately, I only get one before we found her peace. head to NYC tomorrow. To be honest, I’m surprised it took this long for it to start fatiguing. Oliver: You’re tired, so what? You put on your punk rock hat in this tiny little punk rock club, and you just deliver. I just tried to do my best to play the songs on the short tiny little stage that we were on. The only challenge I had was where to put the headstock of my bass. So I was singing, leaning up against a wall and jamming my headstock up against the wall with my mouth up to the mic in a strange fashion. 8/22 - Kingston NY - One of the benefits of going on a number of national tours is in the people you meet. Before heading off to play a great goth/ punk dive in New York City called Otto’s Shrunken Head, everyone got to reconnect with a bit of their extended family in Kingston, NY named John and Kate. These two are some of the nicest, welcoming people on the face of the planet. It was important to mention them in this journal as to not do so would be a great injustice to those who have not only helped the band by supporting them at shows -- which both John and Kate did at Otto’s -- but in also helping them with food, shelter, and a sense of familial love that is sometimes missed on the road. Though there was only one off day before the performance in New York City, it helped the band to recharge. Though there was still a bit of fatigue the band, and Will’s voice, showed improvement that only rest can bring. After the show, the band headed back to Kingston for a couple of days rest before throwing themselves into the biggest event of the tour: Saikoucon. WILL: 2:52pm 8/22/16 Kingston, NY - This is the first time I’ve had a chance to actually sleep a full nights sleep in a few days. The show in New London was very sub-par. Luckily Craig, the manager at 33 Golden St in CT, is a buddy of mine and though we wanted to impress him -- it wasn’t critical. My voice officially took a shit last night. I warmed up for 2 hours and did my normal rituals but my voice was far too fried -- cracks and breaks in my vocal range sprayed a delightful crappy mist all over our music. Thank god for off-

On the positive side, we are staying with some amazing friends - John and Kate - who attended Ferdonia University with Murdock. They live in a house they’re building in Kingston NY. Very very cool people that I like to describe as a “warm blanket”. Extremely hospitable and all around good people. It’s wonderful to see Murdock around his old friends, really chills him out and helps him get re centered.

Murdock: 8/29 - This is my official favorite stop in the US. Anytime I am close to NY, I stop here. I know many people in the area to visit but John and Kate get first dibs. I have dreams of being their neighbor someday. Oliver: August 29th; SaikouCon - There is one event that The Adarna makes sure to attend every year. The anime convention known as Saikoucon. This year was their third playing the event (the first at Split Rock Resort in the Poconos), and as anticipated, it was a large crowd filled with both returning Adarna veterans and a smattering of new faces. The band loves this event and the fans love them for playing it. What makes it so special is that for many who attend SaikouCon, not only is The Adarna the primary reason for coming out, but there are also those who have never attended a rock concert before and the group is their first exposure to live music. Knowing that the stakes are set a bit higher, the band pulled out all of the stops for both of their shows (Friday and Saturday night). Having rested for more than just a day allowed everyone to be at the top of their game and they were more than able to kill it. With many in attendance going to both shows, the band modified their set slightly each night to allow for a wider range of their outstanding Jet City Rock material to caress the ears and minds of those who were able to enjoy one of the best live rock acts out there.

William: I believe the greatest honor a musician can have is being someone's first band. For many of these kids, we are their first band. That is a tremendous weight to feel. Think back to your first band and how you remember ever gesture and every detail of the show...We have to ability to uphold the standards of the musicians who in-turn inspired us. Is it pretentious to put that responsibility on us? Fuck no it isn't. Because someone else believed in us--a teacher, a parent, a girlfriend, friend, or even fans. Ive said this before that I believe a stage is sacred grounds. It's a podium to connect with lost souls seeking a voice. My goal with Saikoucon or any con is to inspire these kids who feel lost until they're surrounded by their peers for 3 days out of the year… I want them not to be afraid to speak their mind or approach someone they admire. I want them to have a strong base for their musical standards. The shows themselves went great!! The kids loved it and they were totally jazzed. I was also really stoked to do a Zombie Apocalypse Training Workshop with my brother, Josh. Basically it was a workshop to get kids interested in fitness while we had Oliver chase them as a zombie! I couldn't be prouder of my team -- they really brought their A game. Josh and Robb included.

teraction was in building confidence. In fact, both he and Will’s panels are designed to not only bring new musicians into the world of performing -- for both drums and vocals respectively -- but to also let them know that no matter where they are at (beginner or someone who has had some experience), that they can do it and very encouraging in their comments. Where most seasoned pros could get trapped in becoming frustrated, they never put off that vibe. In fact, even with my limited vocal abilities, when I volunteered during the vocal lesson, Will was positive and gave me some great advice. The “zombie apocalypse” panel with Will and his brother Josh was also a lot of fun and gave some great advice to not only get people’s bodies in shape, but how to use those muscle groups to ward off the living dead. At the end of the closing ceremonies, everyone gave out hugs, and said their goodbye’s, looking forward to next year. It was then on the road to Denver … Will: I'm so happy that the con went well but at the same time my butthole is turbo clenched until we get rehired again for next year. Saikoucon is an anchor and turning point for our touring to the East Coast. In the meantime while the con-heads make up their minds about what they want for next year-- I will focus on the remainder of our shows. We are stopped off with a really nice Couchsurfer named Ivan for the night but tomorrow we make our way towards Denver. If we push through the night tomorrow, we can plan out our breaks.

Murdock: 8/29 - I don't think a band could ask for a better anchor gig on a tour. I had my doubts two years ago about inserting a rock band into an Anime environment, but it has worked very well. The universes are parallel. I recall my musical beginnings and it was about finding yourself Murdock: September 2nd (Salt Lake City, UT) amongst the masses. I practiced so I could express The one thing that is learned very quickly on the road is that things will break down, have issues, or myself in the way I felt comfortable. any number of other calamities that can befall a These people have something to teach us. They band usually will. But as the old adage goes: it’s enter this environment and they're not afraid of not how many times you get knocked down, but being who they want to be. They seem to shrug how many times you get back up again. This is a off the possibility of being embarrassed or ridi- motto that has been ingrained in the members of culed in favor of a character they identify with. The Adarna and one that was illustrated on the Wouldn't it be nice to have that security in our journey from Lake Harmony, PA to Denver, CO everyday lives? while staying in St. Louis, MO. The original plan August 29th (SaikouCon Panels)- The one thing was to leave at a time where we would arrive in that The Adarna loves are their fans. This is most Denver on the night of the 30th. This would allow evident when it comes to the panels they partici- everyone to get some rest and maybe see some of pate in every year. Up first was Murdock and his the sights in the city prior to the show. However, drum panel. The thing that was great about his in- when we stopped in St. Louis, Murdock noticed

that a tire was bowed and one of the cylinders in the engine was firing incorrectly. Iâ&#x20AC;&#x2122;m not sure if it was due to the fact that these seasoned road veterans have a sixth-sense about them for planning ahead, but this extra time definitely saved us from potential disaster down the road. Because the time to fix all of these issues resulted in waiting for hours, which made the time of departure much later than was wanted, the band ended up staying that night in Hays, KS. This made for the rest of the drive to Denver more frantic than it would have been otherwise, but it allowed for Denty to make it the rest of the tour without collapsing and forcing the band to miss shows. Arriving at the venue in time for load-in and soundcheck, the band hit the stage a few hours later and performed without showing any signs of fatigue or stress. Because the next show was a TV taping in Park City, UT the following morning at noon, everything was loaded at the end of the set, followed by another drive through the night. Making the taping in time and performing again at the top of their game, followed by another show that night in Salt Lake City, shows not only just how professional this band is; but that when they do get knocked down, they storm right back with a vengeance.

Order in the Chaos Guitarists: In Search Of… the Ever-Elusive Title of “Musician.” If you are a guitarist, like me, you have your own other ideas or helpful comments to offer, please arduous journey to tread. You will have your own share them with other aspiring young players and experiences, and you will adopt your own theo- let’s keep the knowledge flowing. ries, structures, scales, and riffs from the people you come across on that journey. But, being like me, you will also come to realize that while there Okay, so you have been playing for a brief may be ten billion books out there that all claim amount of time and all you have is questions. they can unravel the mysteries of Western Twelve How does Synister Gates get his sound? What Tone Music; there are none that will help you get made Jeff Hanneman choose the scale he chose a killer tone and the skills necessary to become a for your favorite Slayer solo? What are “FX Pedals”? What guitar is right for me… better musician. yet, which AMP?! When I first started playing, I had no concept of how to obtain the sounds that I heard coming from my stereo or record player’s speakers. I didn’t know how Angus Young, Ted Nugent, Alex Lifeson, Tony Iommi, or Randy Rhoads got their sound. I could hear it plainly enough, and I could tell none of the players sounded the same as the next, but I figured out there was a lot more to being a serious musician was much more important than just learning how to play. If you read my article last month regarding what music means to you, you will have read a lot about my upbringing as a Rock and Roll Guitar Player. If not, no worries, you’ll get along fine not having caught that one. Anyway, this column is going to be a little more geared to that young aspiring player who doesn’t know gear and hasn’t been around the block as much as some. If you have been playing for a long time and have tread your path for even half as long as I, you will have your own perspectives and ideas. You may even come to disagree with some of my statements. That is perfectly okay, I promise not to come to your house and savage your family. But, please read on and if you have

Let me attempt to help. If you have not had lessons or are predominantly self-taught, then you are at a severe disadvantage to your peers in your local market. Much like I was. But, you do not have to go out and spend money, time, and effort looking for a guitar teacher. You can if you want, but if you do not have the resources, there is nothing wrong with being self-taught. And, if you are going to proceed forward as a self-taught musician, then it’s entirely up to you on how you want to go on moving forward, but let me help you with a few pointers. First, instructional books (like I mentioned earlier), I have loads of them. But out of all the paper I have laying around, there are two books that stand out as the most important in helping me to expand my knowledge and interactive prowess when working with other musicians, “A Guide to Chords, Scales, and Arpeggios” by Al DiMeola (https://amzn.com/ B005LAAC8Y).

It is a wonderful book of Scale Charts, Key explanation, theory, and speed development. This book is a little on the advanced level, but if you only use it as a resource and do not go through the entire learning course in the book, you will harvest enough from it to make you pretty freaking dangerous. Shoot, I went to high school with a guy who was such a killer guitarist that he was able to throw down the guitar solo to “Beat It” at the talent show. One day, I went to his house to smoke some herb and play around on guitars. I had my cheap Strat knock-off and a little amp, he had a Custom-built Jackson Telecaster with a Floyd Rose on it and a Marshall JCM800 Combo Amp. The dude could play anything, but when I asked him about scales, he only knew one. Every solo he played was based on that one scale. So, I showed him a Major Pentatonic scale I had picked up out of the book. He was floored! He asked me to teach it to him. So I did. Then I showed him the Minor 2nd Inversion of the scale and his jaw went slack.

about theory, structure, scales, or even chordal selection for a phrase. He would come up with ideas that had no meter, timing, or theoretical sense. And would get angry if I tried to make it work. He wanted me to play the parts exactly how he came up with them. No thanks. The music would have come out sounding like an chimpanzee was hammering away on your guitar after drinking a fifth of Wild Turkey. You have to KNOW how to write before you can write. Get it? Amps and Guitars… I spent YEARS trying to find “me” in gear. I mentioned earlier how I had no idea how some of my favorite guitarists got the sounds they had. Well, I know now. Much by trial and error. But, a lot by educating myself on what was sufficient, what was excess, and what was necessary.

The second book is called “Progressive Steps to Syncopation for the Modern Drummer” by Ted I have written in the past about how much I desReed. (https://amzn.com/B017MTY9WQ). pise guitarists who copy another guitarist’s tone. They hear them on the radio, look online to see What? A book for DRUMMERS? what type of guitar and amp they play, head down to GC and buy the same thing expecting to Yep. And due to my knowledge derived from that sound just like them. Sorry, it doesn’t work that publication I have become extremely accessible to way. I also went on to explain how most profesdrummers. Or maybe even the other way around. sional musicians do not use stock gear. Theirs are Remember, communication is key in every rela- customized in ways that are way beyond what tionship. And, you will go much further with oth- you buy over the counter. ers if you can communicate with them in their own language. If you cannot, you will not go very far with them. Let me tell you about a killer singer I worked with recently. He had butt-loads of natural talent and a tone that most vocalists would kill for. But sadly, he NOTHING about music or how to relay his idea in a manner a musician could comprehend. On the one hand, I could hand him an entirely finished song and he could write lyrics and melody to it that was the type hits are made of. In this type of scenario, we could have gone a long way, but he wanted to have more say-so in the writing process. The issue was, he didn’t know anything

Wearable Art

When I was a kid, the Holy Grail of amplifiers to own was hands down “MARSHALL.” But, since then, a lot of newer amp models have come out that crush. What YOU have to do is look at the type of music you wish to play and obtain the appropriate gear to get that basic sound and go on from there. Let me give you an example of this in action. I ran auditions for a Bass Player for my last band. We had this kid come out that had a beautiful Spector Bass and a killer Mesa Boogie rig. But, all he knew how to play was Metallica riffs. And his tone was total crap. While it sounded great, it was not appropriate to the BAND’S sound. He also lacked experience playing with others, but that was something we could overcome. The gear issue was something that had to be handled with a little more tact. So, one day, I went over to his house, we set up his rig, put it at room volume and as he played, I went through all his pedals, and EQs on his two heads. I dialed in a completely BRUTAL tone that could be rolled back to expose a sweet and harmonious ballad-type tone. It worked and sounded amazing. Sadly, his playing style had only one mode… Balls Out. He had no understanding of grooving with the drummer, of syncing with the drummer’s pocket. He had no musical knowledge outside what he got from learning Metallica songs. And, he certainly knew nothing about dynamics… nor was he willing to learn. Which was what eventually made me no longer want to work with him.

I chose Marshall after years of bouncing around from brand and make to brand and make. I tried Randall, Carvin, Mesa, Marshall, Fender, Crate and even a Roland JC120. To get what I wanted out of the heads I settled on Marshall. I bought a used Marshall JCM2000 from a relatively famous musician I met through my business. He sent it up to me from California because he played ESP guitars too, and said he was selling this amp and it was a perfect pairing for the type of guitar I play. So, a few days later a Marshall half stack shows up at my work, I take it home, unbox it, plug it in, and I about had a heart attack. Knowing quite a bit about amps and guitars, I open the back of the head up and look over what was in there. It looked a bit different than my other JCM2000. After a little research online, and a phone call to the gentleman, I learn about all the mods that had been done to it. I changed my other amp to match. Now I have a pair of some of the most killer amps I have ever played through. Which I referred to at the beginning of the article how your favorite players do not play through stock gear a lot of the time. You play Country? There a lot of different guitar tones in Country. You have to look at the position you hold in the unit to be able to find an appropriate tone for your spot. But, something with a good reverb and a nice, twangy, bite… A Fender Twin.

You play Folk? Something less “in your face” and understated would best. Since I haven’t the slightest idea of what Folk players are looking for in If you have the drive and the desire, buy what you their tone, but I would suggest looking into somefeel is appropriate to what YOU are trying to do. thing from Fishman. Not someone else. A really good page regarding how to select the amp that best suits you can be found here: http:// You play Metal? Something that has a lot of thehub.musiciansfriend.com/live-sound-buyingpunch, drive, gain, and tone to cut through all the guides/amplifier-buying-guide. heaviness that the Bass and Drums are going to put across your path like little tonal caltrops. A FX Pedals… Dude. First get your initial tone Marshall, Mesa/Boogie, Bugera, Bogner, Ran- down, and THEN start worrying about how dall, Carvin, etc. will do the job. many ways there are out there to manipulate it. When going for your initial tone and you have

picked your amp and guitar, and you need just a little more push, add an Overdrive. If you need a lot more break-up in your tone, then a good Distortion pedal is appropriate. Anything else, is all sugar on the pastry, so to speak. And, in my opinion, should be treated as such. My Marshall heads (after the other mods were performed) have one other distinctive feature. I yanked out the reverb tanks and by-passed them altogether. It improved the tone of the amps substantially, and made the tone less rounded off and the notes became a little sharper on the pick attack. So, I added a compressor to my signal chain to soften the attack when it is necessary to remove some of the shrill (i.e.; a clean guitar passage that is picked). Essentially, there are about six types of signal manipulation pedals types out there. Distortion/Overdrive Compression/Sustaining Modulation/Harmonizing – Chorus, Flange, Phase Delay/Reverb Detuning/Uptuning – Whammy Drop pedals Direct Phase Inversion – Wah pedals

floor level noise to record cleanly through. The tone also comes out “mushy” when miked. And, if you have to turn up too loud on stage, you have to make certain the unit’s program levels have all been pre-set so that your amp doesn’t feed back like a wailing banshee! Basically, what I am saying in all of this is that as a guitarist, you may feel free to emulate whomever you wish. But, if you want to become a MUSICIAN, you need to learn and know your tools to best make you sound like yourself. Like an individual. Remember the short list of guitarists I mention earlier? If you listen to any of them, none of them sound like the other. Just like you shouldn’t sound just like someone you look up to. Sure, you can come close, but, what makes you, you… and them, them is “self.” What I mean by this is that “self” is how you approach the instrument and the way you play it. I listen to a lot of Zakk Wylde. He is brash, in your face, a lover of the alternate picked chromatic scale, and branded by his over-exaggerated, signature pinch harmonic squeels. I can make the same squeels and have done so. But, they do not sound like Zakk’s because of a lot of different nuances in our scenarios like Strings, string gauge, guitar wood, amp tubes, foot pedals, and attitude. Notice I did not mention any brand names there? That was on purpose because they are kind of irrelevant to my point. If you put Zakk on a Fender Stratocaster instead of his brand, switched out his “Wylde” heads with a an old Kustom amp; chances are he would still sound killer. That’s the musician side. His stage persona is belligerent, his tone is brutal, and his playing is aggressive and blatant. He too, sounds like no-body else.

You can also purchase Guitar FX processors that do all of these things too. Much like the Mac/PC debate, it’s your choice to be on which side of the fence you wish to be on the Digital/Analog debate. Myself? I prefer to mix the two. As an example, my favorite combination is my stage pedal board into my primary Marshall head and the FX loop of that head having a TC Electronic GMajor processor running through it. Then having Just as you must obtain a superior tone if you the Right channel out signal from the processor wish to rise above all the mushy, store-bought, running into the input on the secondary Marshall masses and be noticed. head. It sounds absolutely amazing. But, it does not work nor is appropriate live or in the studio. As the TC Electronic piece adds way too much

Brien DeChristopher Musician/Entrepreneur/Owner of Sicâ&#x20AC;¢Skinz Custom Drum Wraps https://www.facebook.com/brien.dechristopher?fref=nf http://www.linkedin.com/in/btomass http://www.SicSkinz.com

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