The Spitfires Live at The Rickshaw Theatre

The Spitfires Live at The Rickshaw Theatre
Vancouver, BC, Canada – 20/11/21
Words and Photography by Arturs Feists

The Spitfires have been wowing music fans with their mix of “AC/DC meets the Sex Pistols” 70’s era rock/punk since 1996. They’re road dogs – Canada coast to coast multiple times, extensive U.S. touring, and playing in the UK, the Spitfires have taken on SXSW, NXNE, Canadian Music Week, and New Music West. Spits have released 4 full length LPs, numerous 7 inches on labels like Junk, Estrus, Longshot, and more. Photos from the show at the Rickshaw Theatre in Vancouver BC, Canada on November 20, 2021

Disclaimer: This photo album is solely the property of Arturs Feists. It is strictly forbidden to copy any part of these images, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Areis – Areis

Areis Album Cover Art

Areis – Areis
Release Date: 10/09/2021
Running Time: 39:12
Review by Steven Hooke

The region of Occitania in Southwestern Europe that acts almost as a centre point to the Venn diagram of France, Spain, Monaco, and Italy, drawing in cultures, dialects and history from a multitude of sources. Hailing from today’s geography lesson is Areis, a four-piece from the French Occitanie region who – much like their homeland – pull in inspirations from a variety of styles, creating a mood board of punk, post-hardcore, sludge and black metal.

On this, their debut self-titled album, Areis offer a fluid amalgamation of genres that share a kinship with the likes of Giver, Pariso and Morokh. A duality of low-end grooves and higher-end melodies dominate the album, traversing the realms of blackened hardcore (‘Born Again’, ‘Le Pain Maudit’, ‘Of Gold And Blood’), melodic hardcore (‘Eternal Curse’, ‘The Wanderer’, ‘Recall’) and post-rock (‘Under The Sun’, ‘Vacillate’). The album’s wonderful production job allows both layers to be heard crisply, revealing a strong library of riffs from axemen Paul Gonzalvez and Pablo Malbec, and bringing forth an extraordinary wall of sound on the final third of the release, with a rich, full climax in ‘Recall’ through to ‘Vacillate’.

Another dual-attack on “Areis” is the tandem vocals of Gonzalvez and bassist/vocalist Michaël Jarrié. A similar attack as their instrumentals, the pair trade low growls and a gritty, hardcore bark to add an extra layer of assault to their sound. Both vocal styles share the limelight in fair and naturally-feeling transitions that do not take away from the momentum a song has built, and even add to the energy of a song when layered, creating a vicious gang-vocal-esque effect, heard from the off on opener ‘A Wretched Vow’.

It’s a fair outing for the quartet on their debut. What could’ve been a muddied sound is in fact a new worthwhile entry into the modern hardcore spectrum, with dynamic vocal and tonal pairings, a cracking production job, and a bounty of jaw-clenching riffs. But while there are a lot of interesting ideas and arrangements, it’s hard to think that Areis have lent on this potential creativity enough. Looking at bands such as Respire, Svalbard and Birds in Row – 3 bands who also craft a sound made from hardcore, black metal, and aggression-tinged melodies, albeit in a much different way to Areis – they push the boundaries of their already-very loose parameters, and experiment from the first note to the last. In Areis, the furthest they leave the core sound of the debut is ‘You Are The Best At Your Worst’, which ironically feels like it takes more away from the broader sound, stepping closer to a more straight-forward groove metal sound when there are so many different avenues at their disposal.

The good news from this is the aforementioned bands are all at least two albums in with a plethora of EP’s and comps surrounding them. The fact that Areis can sniff at their heels, and draw comparisons to Giver, et al. paints the Occitans in a strong and hopeful light for the future, and a group to put stock into now.

‘Under The Sun (Official Video)

01. A Wretched Vow
02. Born Again
03. The Wanderer
04. Of Gold And Blood
05. Eternal Curse
06. You Are The Best At Your Worst
07. Escur
08. Le Pain Maudit
09. Recall
10. Under The Sun
11. Vacillate

Paul Gonzalvez – Vocals, Guitars
Michaël Jarrié – Vocals, Bass
Pablo Malbec – Guitar
Antoine Dineur – Drums


Areis Promo Pic

Disclaimer: This review is solely the property of Steven Hooke and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Capra – In Transmission

In Transmission Album Cover Art

Capra – In Transmission
Blacklight Media Records/Metal Blade Records
Release Date: 23/04/2021
Running Time: 32:27
Review by Steven Hooke

The mixing pot of punk, hardcore and metal will never not be a good time. The ‘fuck you’ energy, the frenetic pace, the almighty riffs, it is a Holy Trinity in alternative music and should be held aloft with pride, alongside spiky belts, black band t-shirts and dodgy haircuts.

Every now and again though, you find a band that *gets* it, and Louisiana-based troupe Capra really, really gets it.

The now-five-piece (hello Trevor!) came together after a mutual desire between guitarist Tyler Harper and drummer Jeremy Randazzo to bring the excitement and nostalgia of 90’s and early 00’s hardcore to the present day, complete with a modern sheen. After solidifying a line-up that would come to include bassist Ben Paramore and vocalist Crow Lotus, the group eventually set to work on their debut album, “In Transmission”.

The one-word summary for this album would definitely be “aggression”. From the intro track that sounds cut from the main menu of a horror game to the assortment of riffs that possess the frenetic energy of Converge – but also the head-rocking groove of Cancer Bats, and the vitriolic fables spewed forth by Lotus, “In Transmission” often feels like a therapeutic outlet for the band in the face of their battles over the past few years.

A blistering start to the album proper in ‘Hollow Doll’ sees the band tread into Svalbard-esque blackened hardcore territory, before a smooth transition into the album’s lead single, ‘The Locust Preacher’. Possessing a mid-song build akin to ‘Beside the Ones We Love’-era Palm Reader and a litany of riffs seemingly inspired by Every Time I Die, the song is an all-too-real account of depression, and the entrapment one feels inside your own mind and body.

And on that point, this album does not let up lyrically. Primary scribe Crow Lotus puts various subjects on blast, including failing governments, oppression, sexism, and toxic relationships. Cries of “Am I a product of my surroundings, or does the nightmare follow mе?”, “For the weaknesses within yourself, that you don’t have the strength to address” and “They’re not in control of their bodies and somehow that’s my fault” reverberate in the mind each and every time, in a delivery that invokes Ren Aldridge of the Petrol Girls at her most furious, the swagger of ETID’s Keith Buckley, and the ferocity of Gouge Away’s Christina Michelle. In the words of the lady herself, Lotus states “I intend to give a voice to the people who are often overlooked”.

On the musical side of things, the guitar work of Harper cannot go without comment. Once the album kicks in, it rarely relents, maintaining that high-adrenaline attack throughout its near-33 minute runtime, but at no point does it feel like the riffs are running out. “In Transmission2 may stay at that intense level, but it never feels repetitive or running dry on ideas. ‘Red Guillotine’ and ‘Deadbeat Assailant’ in particular, showcase an excellent collection of six-stringed slappers.

Capra joins an ever-increasing army of female representation in punk no longer content with simply sitting on the sidelines or even just being happy to take part, they have become the scene. From pop punk, to crust, to hardcore, to powerviolence, to straight-up punk rock, punk music has a plethora of female-perspective bands brewing in the underground, stretching all the way up to ticket-shifters at festivals. On their first outing as a solid unit, they have opted to go straight for being mad as hell and raising a ruckus on what fires them up the most. The addition of a second guitarist will only add depth to their already vicious sound, and the band are already contemplating their next step to make up for the time stolen from them by COVID. If the pandemic has given them another reason to be angry (which it most certainly would have done), then we are in for a hellacious treat.

‘Medusa’ (Official Video)

01. [Exordium]
02. Hollow Doll
03. The Locust Preacher
04. Medusa
05. Torture Ship
06. Paper Tongues
07. Mutt
08. Transfiguration
09. Red Guillotine
10. Deadbeat Assailant
11. Samuraiah Carey

Crow Lotus – Vocals
Tyler Harper – Guitar
Ben Paramore – Bass
Jeremy Randazzo – Drums


Capra Promo Pic

Disclaimer: This review is solely the property of Steven Hooke and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

SYD.31 – Machine Ready

Machine Ready Album Cover Art

SYD.31 – Machine Ready
Dys13 Records
Release Date: 02/04/2021
Running Time: 41:15
Review by Beth Jones

One of my fondest memories, back in the day, was seeing The Prodigy live at The Paleo Festival in Nyon, Switzerland, way back in 1998. I loved their heavy electronic sound, and the way they fused everything with an Industrial Metal edge. Their stage show was out of this world, too. The loss of Keith Flint left a huge hole in the music scene. He, and The Prodigy, were completely unique. I’d never really heard anything like that before, or since. That is until I heard “Machine Ready”, the new album from SYD.31.

This album encapsulates everything I loved about The Prodigy, and more. Pulling from a variety of genres, right from 70’s punk to the techno, garage, and rave scene of the 90’s, it’s a complicated and warped meld of psychotic proportions, but I bloody love it.

Dr Magic, the brains behind SYD.31 sees this as his first ever “truly solo” album, because he’s created the whole thing himself during the isolation of the Covid pandemic. He’s pulled on a variety of influences, recording the bass, guitars and vocals in a definite Punk style (but with influences from the originators of Rock ‘n’ Roll), programming the drums using techniques created by the originators of Hip-Hop, and adding in Techno beats, and the ambience of Dance and Trance. Dr Magic says about the album “If we strip away the guitars and vocals, the album is old school hip-hop, drum ‘n’ bass, and Hacienda era dance music.” It absolutely is. This is a guy who really knows his music, and that’s admirable.

His sound is also, in part, inspired by a book he was given at school in Zimbabwe, at the age of 14. “It was a Christian book warning of the demonic dangers of Punk and Shock Metal. Before I got to listen to any of the bands they mentioned, I had to imagine for years what they would sound like – demonic, unstable, sulphurous punk rock.  I never did find any bands that sounded exactly like what I imagined. So I finally went and created that sound myself.”

Thematically, it explores all that is dark. Depression, fear, vulnerability, crisis, demonisation, and the bottomless pit of realisation. The track descriptions we received to go along with the album are something I’ve found fascinating to read. There are so many thought processes, observations, and memories going on, but I can hear, and visualise them all. This really is art as much as it is music, and I could see it being the soundtrack to an installation exhibition. In fact, I would actually pay good money to see that. It would be one hell of an immersive experience.

So, what does it sound like? Well, each track is different, but the masterfully handled elements of the various genres run through them all. The best I can do is this: It’s angry Keith Flint, shouting at people at an illegal rave, while in the next room The Misfits, Prince, and Chuck Berry, are rocking out together drunk, and breaking stuff, and you’re standing in the doorway between both rooms hearing it all, on a comedown from a bad trip.

There are all sorts of other elements though. Funk bass in ‘Collapsing A New Star’, tribal drums at the beginning of ‘Demon Night’, and a smattering of Death vocals further on in that track, to name but a few. There’s even a classical twist to the ambience that opens, ‘Imitating Art’. There’s so much to explore. If you want to genre it, I suppose Industrial Techno Punk Metal would sort of cover it, but I wouldn’t bother pigeonholing it to be honest. It’s art. It’s rather damn good. And I can’t stop listening to it.

‘Machine Ready’ (Official Video)

01. Intro (A Night Visitor)
02. Broken Blank
03. It Came To This
04. Imminent Failure
05. As They Let You Down
06. Collapsing New Stars
07. Demon Nigh
08. Imitating Art
09. Disassemble Me
10. Machine Ready
11. We Turned the Lights Out
12. Outro (A Visitor Departs)

Dr Magic – All Music and Madness

Chris Oscillate – Mixing and Mastering, Additional Synth on ‘Imminent Failure’, Additional 808 and all additional percussion arrangement


SYD.31 - Dr Magic - Photo by Will Shields
Photo by Will Shields

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Interview with Red Terror UK

Red Terror UK Logo

Interview with Red Terror UK
By Sheri Bicheno

Hi All! Sheri here. I’m back with another interview and this one is with Brighton/London based Punk band Red Terror UK!

Red Terror were formed in 2017 and as they put it, make noise about the UK government! Their self-titled EP, released in 2018, has helped them play live in some of the UK’s favourite Southern underground venues such as The Tavern, The Hope and Ruin, The Prince Albert, Bar 42 Worthing, The Pipeline, The Green Door Store and many more.

Read on to see what shenanigans they create, the concept behind their message in the EP and to never take things from strange men in large overcoats…

Sheri: So, we know Red Terror was unleashed in 2017! As with a lot of punk agendas, you have political confrontation in your music. Give our readers an insight into your background and how was Red Terror conceived?

Siri: Ahh hahaha it was initially conceived out of me, Joey and someone else wanting to have a bit of fun but it sorta just stopped. Then it came to a Uni assessment in the second year I think, and we needed to make a band as part of the assessment, so we just turned around and were like “you wanna give it another go?”. Then ended up getting J (Jed) into the band, who is not here right now haha – and then one thing led to another and we ended up with this somehow.

Ashwin: So, I filled in for a few shows and then it got into being like “look, just drum for us, already” haha which is fine!

*Jed enters the chat*

Jed: Sup?

Ashwin: J – can you give us a bit of backstory into Red Terror?

Siri: Sorry, can I just hold up a second – we’ve finally managed to get all four of us in the same place at the same time hahaha.

Jed: Absolutely beautiful haha. From what I gather, Joey, Siri and Connor who is our previous drummer, used to put on gigs and go on and play ‘Endless Nameless’ (Nirvana song) and I went to this gig in Worthing that Joey was playing and they were like “do you wanna join the band?” and I was like “Ok, I’ll give it a go”.

Joey: We made you sign a contract.

Jed: Did we actually have a contract?

Joey: Yeah, we made you sign a contract, so you are legally bound to be in Red Terror for the next 97 years hahaha.

Jed: Hahaha. Oh shit. I remember that night we went to rehearse over the bridge and we were just noisy bastards. Until eventually, it was like, about 6 months later, we started tightening up and we actually played a gig. Then after that it was basically every other week, right we’re playing this, we’re playing that and chaos and pints ensued…

Sheri: Where are you all based? Are you all in Brighton?

Joey: We were. I mean, the majority of us moved away from for one reason or another and we sort of just meet in London when we can. It’s kinda the middle for everyone.

Ashwin: Our most recordings are back in Brighton but the last few months we’ve been either in Earlsfield or East Croydon where we go up and do practises now. There was a time where we were all based in the same City and it was a lot easier haha.

Siri: Back in the day!

Ashwin: Siri is the only one who’s managed to keep their lifestyle in Brighton which is fair play because I couldn’t do that forever hahaha.

Sheri: As mentioned, your music is politically charged, for all the reasons the UK needs to hear! Give our readers your own thoughts into the message you’re putting out there?

Joey: So, I mean, I think a lot of it comes from me personally, I was at College kinda around the time when the Tory coalition with the Liberal Democrats started. I remember me and someone else at College were completely ripping into one of the College Tutors as she was Tory…and I think it comes from that frustration of no matter what anyone seems to do, we’re just stuck with the Tories through an indefinite amount of time. I think we know how to channel that through music and it turns out that a lot of people seem to agree with that. A lot of bands have a similar method. It becomes a place where people can vent their frustrations and we’re almost like…through us doing that, we’re giving others a platform to voice those opinions, I guess.

Siri: I’d say also that we come from varying different backgrounds and ways that the UK government and political spectrum has impacted us in different ways, like we all come from different backgrounds. I mean obviously being individuals of colour, so there’s multiple different reasons for our views about the government and about how it’s impacted us and such. Having that broad sort of spectrum, it helps us in our music to appeal and apply it to the rest of the UK and the rest of the world because it’s a reflection on not just us but everyone at the moment.

Joey: We have a lot of hate mail as well from right wingers for like…we haven’t even done anything for ages…we have the occasional inbox or like comment on our posts that try to “Cancel us” I guess… what was that one from that guy the other day?

Siri: That was madness. What was he on about?

Jed: He was clearly in the middle of having some kind of normal one haha. Just wanting to express that hahaha.

Sheri: So, these are the motives behind creating what Red Terror are essentially about. It’s like putting personal things into music.

Jed: Oh, spite! A lot of acts, compared to them, I think we are a lot more violent in terms of performance. Because, as Siri has got on his Bass headstock, “You gotta mind out for the flying bass” because he’s just throwing it everywhere! I mean, how many people have you actually maimed?

Siri: Hahaha. I’ve not actually maimed anyone! I nearly killed Joey…

Joey: Things can happen where we include Hannah, the ceiling at the Tavern in Exeter, me, J…

Siri: The bass itself.

Joey: Who was the person you smashed in the face? Who got like a massive lump? I think it was Meg…or was that from the ceiling?

Jed: Oh no that was the bar at The Tavern, I think.

Siri: That wasn’t me, that was the metal bit in front of the stage that fell down so that was not me hahaha. There was this metal bar in front of the stage and they were just rocking it back and forward until they just ripped it out of its socket. It just collapsed on top of Meg and everyone else.

Sheri: Death to everyone!

Joey: Almost simulating a revolution…

Jed: I think a lot of post punk bands are missing that kind of level of stupid edgy spite that the original run of punks kind of had before they all turned Tories haha. The aim is to keep it in the left camp.

Ashwin: I think what’s different about being in this band compared to other stuff I’ve been involved with, is that it’s guaranteed to be fun and have this unbridled chaos that ensues and it seems to feed off quite well no matter who we’re playing with. I think there’s a level of accessibility with the left-wing messages in there but it’s not to a point of being like “haha Orange Man bad.” “Haha, Tories bad.” Especially since recently, there’s stuff we’ve sung about that we’ve drawn more from personal experience as opposed to just being like “Uh, government bad.” or that we are Communist punk rock – it’s expanded a bit more since then which is really nice and it’s just a good outlet to have that more politically driven side of things rather than being someone who talks the talk on their social media but doesn’t actually do anything actively.

Sheri: Let’s talk about your releases – you released EP Red Terror in 2018 – Apart from your iconic 44 second ‘Jeremy Corbyn Ate My Homework’, my favourite track is ‘Parasite’, which focuses on the Theresa May governance. Take us through the back roads of the lyrical meaning to this EP.

Siri: I forgot the lyrics. Hahaha. Joey just makes the lyrics up on the spot haha.

Joey: It was around the time that Windrush and a lot of racist attacks were empowered by Brexit. Their society is about refugees basically and people sort of attacking them and newspapers demonizing people for leaving more poorer countries. I mean, ‘Whitehawk’ is just a silly and fun song basically about… just don’t be a c*nt and don’t hate other people for no reason. ‘Pop Music’ was the first song we ever wrote, actually. That was kind of when me, Siri and Connor used to practise, we used to cover some Greenday songs. Haha.

Siri: And Feeder wasn’t it?

Joey: Yeah, haha I think that’s where the influence for that came from and it almost turned into a piss take out of itself. Obviously, we wrote the song and I was like “How do we make this more cheesy?” So, I added a key change to the last chorus.

Ashwin: That one’s my favourite to play live because I always like adding the tempo to ridiculous speeds to the point where it’s three times as fast as it’s meant to be but during the recording, I’m like “but it needs to be faster, I’m going to make this faster because I started this god damn tempo off and I want some control in this part.” haha.

I think that’s the only one that has a relationship theme, the rest of them are very blatant with the theme!

Joey: Yeah, we have our obligatory pop-punk break up song for certain.

Sheri: When coming together to write Red Terror, in terms of songwriting, how did you find fitting the rawness and energy to amalgamate your message and your music?

Siri: I would say in terms of the music, it was never really like we got into the studio and there were plans to be a punk band. It just sort of a case of we got in there and was like “let’s just play something” and it ended up as Red Terror. All of us come from fairly different musical backgrounds. Like. Shwin, you’re more sort of noisy and shit. J, from my understanding you’re more sort of old wave, Talking Heads and stuff like that. The weird shit.

Jed: Power pop and stuff like that. I’ve been part of the writing process, I just thought I enjoy that a part of the energy in a song can be the chords and they can go to stupid places. Siri came up the riff for ‘Why Should I?’ Which is our next single. I came up with the chorus, so I just slapped some chords together – it sounds a little bit weird.

Siri: Hahaha. That’s the Red Terror style – just “slap some stuff together”.

Sheri: Just get stuck in haha.

Joey: Some of the earliest recordings, I have them, it sounds almost kinda like a lost Nirvana session where we’re just dicking around and that’s sorta how it started and it became more and more refined because we took bits out of it and kept those bits and sort of got rid of the bits where I was screaming into the microphone and where J was scratching at the guitar against the amp and stuff like that. We still kept some of those bits in, but they have their place now instead of being spontaneous.

Sheri: That’s part of the personality of it. If Red Terror were a drink, what would you be and why? Give our readers a comparison taste…


Hahahaha. I’m gonna say Buckfast! Absolute unadulterated fucking chaos and you never know what’s gonna happen with it hahaha. Sometimes chaos and sometimes WTF is happening haha.

Ashwin: I’m gonna go with Black Sambuca – Siri can explain this story as it’s very relevant to when headlined our last gig. Hahaha.

Joey: Wasn’t that Buckfast as well?

Jed: But would that mean that we are about to admit that we committed a crime? Hahaha. We don’t need to include that part hahaha.

Ashwin: So basically, we partied in this playground and there was a man who offered us Black Sambuca and £10 crack from his very large overcoats – think that is one of the weirdest experiences, we haven’t had anything as surreal as that. We didn’t drink it obviously but… hahaha.

Siri: That could be something to do with the next song haha.

Sheri: Try anything once I guess haha. There’s a picture that’s one of my favourites and it’s featuring Siri in a chair and a pile of chunder…So whatever drink has that effect, I agree hahaha.

*everyone bursts into laughter*

Siri: I think that was a dodgy burger!

Joey: Siri’s dad bought us all burgers from Gourmet Burger Kitchen and Siri ungratefully decided to throw it up. Hahaha.

*all laugh*.

Siri: I think I’d only had like two drinks and then when we played, I went absolutely H.A.M when we played and my body was just like “no, you have done too much”.

Joey: Were you screaming “I hate Gourmet Burger Kitchen” before you threw up, or did I make that up?

Siri: No hahaha.

Joey: How do I remember it? Hahaha.

Jed: After that gig we all had to go straight back home because we had to go to work the next day. I had to be in by 10am and I think I was still drunk.

Siri: And I was quite drunk, sitting in my dad’s car for about 2 hours all the way from Exeter. Clearly my Dad was just there like “WTF has my son become?” hahaha.

Sheri: As the live music scene has been majorly trampled on over the last year, I can imagine it’s been a pain to be as productive as you’d like. Have you been making any plans for when live gigs return to some normality?

Joey: It’s been discussed. We’ve a few ideas.

Siri: I think we’ve bounced around a couple of ideas but for the most part it’s been more that we don’t know when this is gonna end. Also, we would rather not be in a situation where we book something and then BANG, you’re in another lockdown.

Ashwin: I think the most frustrating thing last year was that it was very obvious gigs were getting rescheduled for September that it just wasn’t happening…and promoters were being really optimistic about that and it was pissing me off because there was no vaccine in sight, there’s no funding for these venues, most of these venues are having to do crowd funders to keep afloat and there was just no normality. I find that its weirder when we did practise and record stuff, as soon as lockdown was lifted the first time, people were going fresh into the practise phases and it kinda seems pointless because it’s like… the live shows that you want in that capacity are just not possible and if you are going to, you’re gonna have these shit sit down equivalents, which I get why people are doing, but for punk bands it’s just not the same.

If you’re an indie band or a solo Artist, I mean I don’t want to shit on people who are doing these socially distance gigs, I just feel like it’s better to wait until everything settles and you don’t feel guilty for playing these things because you’re not putting people at risk. Above all, if there’s something that’s gone away rather than “well, we can squeeze this in before another lockdown” I just don’t think that’s great.

Siri: What if we played gigs in Hazmat suits?

Sheri: Are you working on any new material that you can tell us about?

All: Yes!

Joey: Yeah, we’ve got a couple of songs and I’ve got a few ideas that we first started writing since the last full lockdown. Song called ‘Tram Man’. Which, is once again about a bad experience that Siri had…

Sheri: Why is it always you? Hahaha.

Siri: It was traumatising hahaha.

Ashwin: ‘Tram Man’ was made because of a practise that we had in East Croydon, where we got on the tram to get to the practise room and because in London, they don’t accept cash on public transport, Siri couldn’t just buy a ticket on the tram, so he got slapped with a £100 fine or something ridiculous like that and we just decided to write a song about it.

Jed: I’ve started writing lyrics in a way. The way it kinda turned out is just kinda like more anxiety about where technology is actually going and that it might actually leave us all behind. If you’re homeless and you wanna get about, what do you do? If you don’t have a credit card and where banks are going cashless, you’re kind of fucked.

Ashwin: Exactly…and that’s definitely increased over COVID and fuck knows what it will be like after this period where people are afraid – and I understand why because it’s handing things over. But also, I feel like it’s already hard enough for people in marginalised positions to you know, even have a fixed address for a bank account or even access to medication and so the idea, I guess in a larger way, is ‘The Tram Man’ is this unbeatable figure of aggression, essentially. Hahaha. No one really likes going on a train and figuring out that you don’t have the right ticket and then being charged extra for that so…it’s like an extended metaphor of that…

Sheri: Tell our readers how we can support you at the moment.

Joey: Ah, listening to us on Spotify and YouTube and sharing our stuff around. We haven’t really got any monetized revenue, really. I mean we’re a punk band so we’re not really doing this for money.

Ashwin: Even if we did anyway there’s no money to be had because that’s what life is like hahaha.

Joey: We’ve got merch; CD’s, T-shirts and stuff. So, if anyone wants to send us a message with their address, they can always buy a T-Shirt…or buy me a beer.

Siri: If you really wanna help us out, you can leave food out for the Racoons that make up the 4 people sat before you haha.

*all laugh*

Sheri: Send out food and beer hahaha. Do you have any other platforms apart from Facebook?

Jed: We’re on Spotify and Bandcamp.

Joey: And Instagram, Apple Music, Twitter page…

Jed: What we would like to encourage people to do is make a playlist and put it on loop and basically take as much money from Daniel Ek as possible…because he’s being a bastard hahaha.

Ashwin: To be honest, playlists are the best way of supporting people because not only are you helping your mates but you’re expanding music that people might not be familiar with. The thing with Spotify is that most of the similar sounding things are not to do with the sound itself, it’s to do with the sort of people that listen to your music. So, in my other bands, there’s loads of unrelated Artists that will come up as suggestions, but they happen to be what people are listening to at the time, so if you have a playlist of similar sounding things or different bands that have the same members as each other or something, that’s usually the best way of supporting. It also means that you don’t have to slog through you know, loads of other stuff if you just want to listen to one track etc. I think it’s really easy to be really cynical about Spotify and there’s this evil overlord’s thing…but I guess that platform is there, it’s convenient, it’s not going away so you might as well make good use of it.

Siri: The only reason your playlist is set up like that is because we all know that “Shoegaze” isn’t a real genre. Hahaha.

Jed: Playlist culture now is just a bit of bollocks…

Ashwin: Prove it. It increases your overall streams and I think there’s a way of doing it where it isn’t this contrived thing and I think that also having collaborative playlists where people can add their own – as long as it’s within reason and people aren’t silly with it and add like, I dunno, Gary Glitter or something stupid like that. Then you can make it a fun, collaborative thing to have so…

Siri: Now who’s talking about problematic Artists haha.

Jed: I’ve been working on my other project as well and part of that is that I’ve been doing a lot of the promotion for it, for the first time and I’ve been watching those little music videos about how you increase your reach; you go onto to submit your email to blogs, you do all this and that. I got added to one playlist out of all that and it’s got like 500 songs on it. So, I think it gets to the point sometimes where you just, a lot of the time, the desperation to be added to it gets to you. But I don’t see a better way of doing it.

Sheri: Not until some things get back to normality and you can physically promote yourselves. Finally, give some advice!

Ashwin: It’s about getting the balance right, don’t be afraid to self-promote because at the end of the day, unless you have all of these connections that you know, no one is gonna do it but yourself…on the other hand, I really object to people who add you on Facebook and then immediately be like “Hey, man. Come like my metal core band or…add you to an Instagram group with all of their friends that you’ve never met before and they’re like “Come watch our new music video!” So those things, bad. Sponsors, links or whatever – they might be a bit annoying, but they do work. Thing is getting over that anxiety of like “I’m in a band and I’m doing that.” or whatever and your friends might find it a bit annoying but…who fucking cares? They might be quite pleasantly surprised by it but just…self-promote but just be smart about it.

Joey: Yeah, dont; force your music upon people because they’re probably more likely to reject it straight away – even if you think it’s great, people don’t like adverts, generally. And I guess people don’t like being told what to do so any information out there for your music. I’m not even on Facebook anymore because I think it’s a load of shit but like…I share stuff to Instagram stories and stuff because people respond to it like “oh sick!”

Ashwin: Yeah, it’s more organic than just bombarding people with a load of shit. There’s a lot of stereotypes around DIY musicians where it’s easy to take the piss out of them because it is pretty cringe, but it is also the only way to promote…so…if all 4 of you are promoting at the same time, you share the embarrassment but if you’re doing it on your own, you’re sorta fucked hahaha.

Siri: It’s difficult when, if you do make a post and it will get lost in the sea of other posts going around from different bands or memes or whatever, it’s so easy for your stuff to get lost in that. So, it is really difficult unless you’re willing to fork out money to pay Zuckerberg to give you more reach.

Jed: I got banned from Facebook Ad’s recently. I don’t know how – I think what happened was that it came up with PayPal for two different things and I wasn’t getting an invoice for some of it, so I ended up blocking it and then I got banned from it cuz it’s just fucked how they operate it. I guess my advice is exist out of spite! If no one is listening, keep making it and you know, pay to like one person in a tiny basement with your trousers off cuz one day…

Ashwin: Hahaha. Why do they have to have their trousers off!?!

Jed: Cuz I mean, we’re not big. But there are still people who will come out to see us and I still get messages from people who are like “I recognise you through this thing” or Facebook groups and things like that. It’s a small world.

Joey: Yeah, me and Siri got recognised by someone and neither of us had any idea who they were.

Siri: I think that was after our first gig, we walked into an offie’ and some guy was like “You’re the guys from Red Terror!” and we were like YAAAAA!

Joey: Yeah? What’s it to ya haha!

Ashwin: And it wasn’t a threat, it was like OH MY GOD someone recognises us hahaha. WHY DO YOU KNOW US? Hahaha.

Joey: As long as you’re not a cop haha.

Ashwin: Yeah “You’re from Red Terror, you’re the ones that broke the mirrors last night.” hahaha. I just did that in a West Country accent and I have no idea why.

Sheri: Why not hahaha. Thanks so much guys, it’s been brilliant!

Red Terror: Thank you so much!

Red Terror are:
Siri Crawford – Bass
Joey Reeves – Vocals
Ashwin Bhandari – Drums
Jed – Guitar


Red Terror UK Promo Pic

Disclaimer: This interview is solely the property of Sheri Bicheno and Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities


Father Before Me Logo


Hi everyone! Welcome to our new EMQ’s interview with NYC, USA based Progressive Melodic Punk Project, Father Before Me. Huge thanks to master of everything , Elijah Catrone, for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Elijah and I currently play everything in the band lol. I’ve been playing guitar, drums, and bass for 15 years and after the falling out of my previous band I didn’t want to give up making music. I decided to take unreleased songs from my past, write a few new songs, and start a brand-new project. Finding it difficult to find other musicians, I decided to record everything on my own and look for members later. The band is only a year old. The first release was Oct of 2019.

How did you come up with your band name?

I always used to say, “ I am a musician like my father before me.” My father passed when I was young and he was a huge influence on my musical endeavours. Seeing as how I’m also a huge Star Wars fan, it just clicked one day that this was a perfect band name.

What Country/Region are you from and what is the Metal/Rock scene like there?

I’m from NYC, which is famous for its history surrounding the roots of hardcore and punk rock. Going to shows here really helped shape what I wanted to do in music. There are a lot of options for venues for playing shows, from big venues like The Gramercy to loft shows and local dive bars.

What is your latest release? (Album, EP, Single, Video)

‘Until Lambs Become Lions’ is the first single off my sophomore EP “RUBY” which is due out on 12th February.

‘Until Lambs Become Lions’ (Official Teaser)

Who have been your greatest influences?

Genres from all over. Van Halen, Queen, Iron Maiden, Cacophony, Children of Bodom, Maximum The Hormone, Four Get Me A Nots, Skateboarding, The Offspring, Bad Religion, Lagwagon, AFI, Charlie Brown Jr., Mute, Silverstein, Bayside, Last Emperor, Django Reinhardt, Paganini, Bach, John Williams, Mario Lanza, Tolkien, Legend of Zelda, Star Wars, Spider-Man, Final Fantasy, TMNT, Pokemon, My Cat, My brother, my mother and father.

What first got you into music?

While my father was an opera singer and my mother a guitarist, I didn’t actually gain much of an interest in music ‘til I got into skateboarding. A lot of the skate videos and video games would feature bands that influenced me to start a band of my own. I was always drawn to guitar. My brother and I fought a lot growing up, but guitar was something we eventually bonded over in my teenage years. He showed me my first few metal records and got me into the art of the shred.

If you could collaborate with a current band or musician who would it be?

I would love to write an album with John Williams or Maximum The Hormone.

If you could play any festival in the world, which would you choose and why?

Warped Tour or Fest. Anything in Canada , Europe or Japan too.

What’s the weirdest gift you have ever received from a fan?

I don’t find many things weird, but a fan and I have exchanged gamer tags and play online from time to time.

If you had one message for your fans, what would it be?

Be kind to one another and never give up on your dreams.

If you could bring one rock star back from the dead, who would it be?

Freddie Mercury.

What do you enjoy the most about being a musician? And what do you hate?

The best part of being a musician is the unbeatable feeling of creating something you love. What I dislike about being a musician is that the music scene can get competitive and also ageist.

If you could change one thing about the music industry, what would it be?

Cheaper ticket prices and more opportunities for up-and-coming bands.

Name one of your all-time favourite albums?
Van Halen – “1984”
Iron Maiden – “Powerslave”
The Offspring – “Ixnay On The Hombre”
Jason Becker – “Perpetual Burn”
Maximum The Hormone – “Rokkinpo Goroshi”

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Anything as long as people are still listening to music.

What’s the best gig that you have played to date?

Father Before Me has yet to play a live show but my old band used to play some of the craziest loft parties which were always a blast. That, or playing Gramercy Theater in NYC.

If you weren’t a musician, what else would you be doing?

Chef – I have a real passion for cooking.

Which five people would you invite to a dinner party?

Bands members, tour manager, and George Lucas.

What’s next for the project?

Release the follow up single and continue writing for the next EP.

What Social Media/Website links do you use to get your music out to people?

Facebook, CD Baby, Youtube, IG and Twitter.

Jaffa Cakes! Are they a cake or a biscuit?

They are Jaffa cakes!

Thank you for your time. Is there anything else that you would like to add?

Thank you for this opportunity and for speaking with me! Please check out the new single ‘Until Lambs Become Lions’ and thank you to the fans for your constant love and support. Cannot wait to get out there and play shows!

Father Before Me Promo Pic

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Cultt Of She – The Void

The Void Album Cover Art

Cultt Of She – The Void
Release Date: 31/12/2020
Running Time: 47:50
Review by Beth Jones

It’s been a busy few weeks here at Ever Metal HQ, and I’ve not really had chance to listen to much music. But we’re still getting a steady flow of new albums in, so I thought it was about time to get cracking on them. I also decided that I’d have a change of direction, as my playlists recently have been distinctly prog metal! And so, to that end, I chose an album at random to tell you about. The winner of my lucky dip pick was New Jersey hard rockers, Cultt Of She.

I have to admit that they’re a completely new name to me. Cue some research! According to their press release, “Cultt Of She is the evolved form of Rock veterans, Roulette. It’s the same lineup with a new name but the real change is with the band’s sound.” Call me behind the times, call me what you will, but I’ve never come across Roulette either, well not this Roulette anyway! Everyone’s got to start somewhere, right?!

So, what do they sound like? Well, they’re billed as hard rock, with some punk, and a serious metal edge. A bit of everything really! Let’s go with Alt rock. I think that’s the closest I can get. Who needs genres anyway! The important thing is, is it any good? And the answer to that is…yes. I like it!

The album starts with ‘Cataclysm’. It’s quite a proggy little number, and it certainly does pack a riffing punch. There’s a lot of cross rhythms and different sections that all slot together in some sort of alt alchemy. The one constant across it all being the vocals of Jess Bariletti. She has a lovely clear tone to her voice, but with a rock edge. Mike Haider also provides backing vocals, which are akin to Evanescence and Linkin Park.

Track 2, ‘Led Astray’, continues in pretty much the same way, until just over 4 minutes in, when it drops into a slower, outro section, which also acts as the lead into next track, ‘One Bad Day Away’. This one has more of a punk edge, but still has some really great cross rhythm sections.

There’s some almighty drumming to start track 5, ‘Everybody Hates Me’. This leads off into a combination of full-on fast punk, interspersed with what I can only describe as ‘Thrash Rock’! Punchy drums, riffage aplenty, and some slightly bizarre samples! In true punk fashion, that tracks over in around 2 and a half minutes!

Track 6, ‘Ghost Town,’ changes things up, with more of a classic hard rock feel, but again those cheeky little rhythm change sections, and some crazy chord progressions, play a part here. Things continue like this until track 9, ‘Falling Into’. This one is a much more technically complex track, and again dabbles on the outskirts of prog with its cross rhythms. Joe Scarpino does a very competent job holding the rhythms together here. About halfway through the song, we get some really dark, whispered backing vocals, and it almost takes a turn into black metal for a brief time! Because, you know, why not! This track is probably my favourite on the album, although it’s hard to choose, because there’s so many different elements going on throughout.

The final track, ‘Moving Mountains’ brings everything together, with some real punch, and is a great way to finish the album off (although it does fade out at the end. GAHHH!). All in all, I think this is a very listenable album from a band who have a lot of skills, and a vast number of influences. And considering it’s a debut album, with this new sound, I think the band should be very pleased with it.

01. Cataclysm
02. Led Astray
03. One Bad Day Away
04. The Things That Haunt Me
05. Everybody Hates Me
06. Ghost Town
07. Second Sight
08. Why Did Jim Root Leave Stone Sour?
09. Falling Into
10. Moving Mountains

Jess Bariletti – Vocals
Joe Scarpino – Drums
Anthony Panduri – Bass
Greg Scarpino – Guitar
Mike Haider – Guitar/ Backing vocals


Cultt Of She Promo Pic by Jeff Crespi Rocks

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.


The Story Of 2020 EP Style
By Stephanie Stevens

The CRO-MAGS, a legendary name in the Hardcore/Punk/Thrash scene. A band who has had a cult following since early in their career. They gave birth to the tough as nails attitude of the scene in the late 80’s and brought, to this world, music that held no punches and surrounded you with an essence of ‘fight and stand strong’.

It’s been 20 years since the band dropped a full-length album to their fans but, earlier this year “IN THE BEGINNING” was born! The album brings you back to the New York hardcore roots and pummels you with that high-octane energy!

Throughout this year the guys had to cancel a tour because of the pandemic but rose up and presented one of the very first live Quarantine livestreams and then continued writing, so we will not just see a full-length released this year but the men of CRO-MAGS are also releasing another slew of songs with the EP entitled “2020”, coming out Dec 11, 2020. To me this EP outweighs the full length. It’s got so much power and angst, a masterpiece in its own right. From living in quarantine, to seeing violence, brutality, burning buildings and the empty streets of NYC, 2020 is a year we will never forget. This EP captures the emotion and raw reality in 20 minutes and 20 seconds. The band fully engulf what we have endured as you listen to the music, words and lay your eyes on the artwork. You want real? Its right here, packaged up in a six-song disc!

I had a chance to ask the legend himself, Harley Flanagan, about the making of the EP, the future of America and who empowers and inspires!

Q: Through 2020 you guys have done a lot of writing. Back in June of 2020 you released “IN THE BEGINNING”. How was it going back to work with producer Arthur Rizk and did you re-visit him because of a certain thing it brought out in you guys?

We get along really well musically and as people, he is not afraid of taking chances and he encourages me to do the same.

Q: Before the end of the year you’re also releasing the EP “2020”, a tell-tale story of the life we have seen roll out before our eyes. With so much emotion about the year we have had, how easy was it getting it out onto a soundtrack like this?

There was no better way to deal with it and to vent. I am blessed to have friends like Steve Zing, Arthur and my guys.

Q: You guys are from NY, so you have seen so much through the year that our country has gone through. Being we are in probably the most chaotic year we have ever seen how do you envision the new year will pan out if you could voice your opinion?

To be honest I have no idea. I hope we start doing shows again soon, but I think things are gonna stay weird for a while.

Q: ‘CHAOS IN THE STREETS’ was a song that stuck with me off the 2020 EP. What do you hope people walk away with after hearing this track?

I’m just reporting it as I see it and giving a little warning.

Q: CROFUSION is an epic ending to the record. Tell us about the jam session and how did you break it down to a, little over, 4 min song?

We just put on a click track and started jamming. It was almost 20 mins long, then me and Arthur just took what we thought were the best parts of it and lined them up so the full record would be 20:20 long. Initially, when we did, we weren’t planning on that, but since it came to 20 min and 16 seconds when we were done, we just added 4 more seconds of sound and made it an even 20:20 like the title.

Q: The EP also has an array of pictures from the album cover and the most eerie look into a deserted NYC. How did you go about choosing pictures and did you go out yourself to take these images?

Me and my wife took some of them and my uncle took the back cover. I went out when I had to, but I stayed away from people and crowds to the best of my ability. There were a few Covid cases in my building, one death and my mother in law was sick but she recovered.

Q: As a band how was the writing process for you guys due to quarantine and how long was it before you could get into an actual studio to lay stuff down and how different was the process?

I always do most of the writing and I have a backlog of riffs and songs, they add their input after. I have so much material and I’m always writing; once I give them the riffs and arrangements, I encourage them to just go nuts, and we take it from there.

It was a difficult time due to the quarantine, and everything was closed but when my longtime friend Steve Zing from Danzig moved into his new house he set up his studio and when things eased up a little we went out there and jammed through the riffs and tracked them there and then we built on it. Rocky was in L.A so he did his tracks there.

Q: This year the touring all stopped, and you guys were one of the first to do a livestream. How did you perceive it after the fact and were there more positive outcomes of it, vs an actual tour?

Obviously, I would rather have toured, but sometimes life throws curveballs at you and you have to handle it. I took what was a shitty situation and turned it into the best thing I possibly could. Then I got to work on writing this EP and the next album. I wasted no time, I didn’t get sucked into bitching online with conspiracy theories and bullshit, I just kept busy. I was out of work, so I wrote music and lyrics and worked out.

Q: As a legendary group and having a platform where people look up to you, what is one thing you can say to this country, that is so divided, that could maybe open a few people’s eyes to what America is and how we can save this country?

I’m not gonna be that guy to try to give anyone a solution or the “Answer” on how to save anything, but I’m hoping that with everything that has happened people start to wake up. Change can be a painful thing, but I am hoping for progress. But just remember things can always be worse and or get worse and It doesn’t take much for that to happen. Be grateful for the good things in your life. I honestly don’t have much hope for the human race as a whole.

Q: Are you guys doing any pre-launch promotions for the EP “2020” and how can fans support you guys with this soon to be released EP and “IN THE BEGINNING”?

Not that I know of. Just buy it, download it and enjoy it!!! Maybe make a video of you and your friends singing the songs and post it and share it with us!!!

Q: Empower another artist and tell us what inspires you about them?

That’s a hard one. There are so many- there are so many artists that I love and respect, but I have to say Gman ( I know he’s in my band does that count?) Because I get pumped when he plays – I love watching him play – it makes me want to play and if I didn’t have an instrument in my hands I’d probably just start flipping out – and I guess that’s what HC is supposed to make you feel; like involuntary stomping, swinging, headbanging, running back and forth jumping off shit and smashing shit. Good thing I have an instrument when he plays cause shit would get dangerous.

The End


‘From The Grave’ (Official Video) – Taken From The Album “In The Beginning”

‘2020’ (Visualiser) – Taken From The EP “2020”

Cro-Mags – Full Live Quarantine Concert (15th March 2020)

Disclaimer: This interview is solely the property of Stephanie Stevens and East Coast Romper, and has been released to Ever Metal on this basis. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.



Hi everyone! Welcome to our new EMQ’s interview with Brasília, Brazil based Hardcore/Punk/Crust band, Terror Revolucionário. Huge thanks to guitarist Thiago Cardoso for taking part!

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Thiago Cardoso “Barbosa”, I play guitar. Terror Revolucionário began in late February 1999 in the city of Taguatinga/DF with the proposal of playing hardcore and actively continues until today, with 3 original members (Fellipe CDC, Jeferson and Thiago) along with bassist Adriana, who joined the band in October 2004.

How did you come up with your band name?

Fellipe CDC (vocalist), suggested the name at the end of the first rehearsal of the band, influenced by a marginal printing from the time of the French Revolution.

What Country/Region are you from and what is the Metal/Rock scene like there?

We are from Brasília/DF, capital of Brazil, located in the central west region of the country. The underground rock scene is large and has many bands of different styles. Perhaps today there are more bands than public, since most of the audience has a band and a few of these band members really support other bands, being part of the audience.

What is your latest release? (Album, EP, Single, Video)

It was the “Campo da Esperança” album, released in April 2019. Unreleased songs + music extracted from, already sold out, past releases and some rare and unpublished sounds. A total of 61 songs.

Who have been your greatest influences?

Punk/Metal/Hardcore bands in general. From the classics, and several bands of the national and international underground scene.

What first got you into music?

I set up my first band with childhood friends when I was 14. Always making my own music. The band had a short existence but made some songs and a single performance for a group of 4 friends inside an empty apartment. Oxiurus was the name of this band, which existed between 1995 and 1996.

If you could collaborate with a current band or musician who would it be?

Although I rarely do shows with another band as a guest, I did some shows with Galinha Preta in 2011 and 2012, and 3 shows with the band Vingança, from Fortaleza / CE, also a mini tour through the Cerrado* in the year 2008. I never wanted to join a band that I had not been part of since its formation.

* Cerrado is the name given to Brazilian savannas that are mostly present on the central area of the country, where the band’s city is located.

If you could play any festival in the world, which would you choose and why?

I would play again at the Obscene Extreme Festival in Czech Republic, where we played on our European tour in 2017. Considering the kind of music from this festival, this is the best and most perfect place. The mecca of world noise.

What’s the weirdest gift you have ever received from a fan?

A t-shirt that a guy was dressed in and he wanted to present to me for the symbolic value it has. I’ve been saving it, and I use it a lot. I won from a guy in Mexico, where we played in Vale de Chalco, one of the craziest shows we’ve ever played.

If you had one message for your fans, what would it be?

Continue to support the bands that care and value you as a person and a human being!

If you could bring one rock star back from the dead, who would it be?

Not really a rock star, but he was one of the most important guys that the national scene has ever lost: Redson from the band Cólera.

What do you enjoy the most about being a musician? And what do you hate?

I like to play shows. I don’t like being in environments where I don’t feel comfortable to stay.

If you could change one thing about the music industry, what would it be?

I would make it more accessible and at a low cost any media that is. For example: today the price to make vinyl is very expensive and the sale value is absurd as well.

Name one of your all-time favourite albums?

Discharge – “Hear Nothing, See Nothing, Say Nothing” from 1982.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

My personal taste in this order: Vinyl, CD’s, Cassettes. I don’t like downloads. I’ve never been much of a fan of it. I even listen to streaming, especially YouTube. Other platforms like Spotify and Deezer I have already used, but I prefer the facility and easiness of YouTube.

What’s the best gig that you have played to date?

There were many that I liked a lot and were important. I can’t point to just one.

If you weren’t a musician, what else would you be doing?

In the world of music, I would continue to go to concerts, listening to a lot of music and looking for information about the world of music such as specialized programs/websites and even magazines and fanzines, as was done in the old days. Just like I always have.

Which five people would you invite to a dinner party?

If it is in personal life: my family (wife, my two children, my mother and my niece).

If it is in my musical world (which I am thinking of almost all the time) I would invite friends that I am always in contact with. I am happy to talk and exchange endless ideas about the world of rock with Fellipe CDC, Icarus, Veto, Márcio Picka and Jorge Fúnebre (the last one would have to come from Asunción in Paraguay).

What’s next for the band?

Make and record many new songs, for several planned releases. As soon as we can when we survive the pandemic safely.

What Social Media/Website links do you use to get your music out to people?

Facebook page and Bandcamp. I don’t use Instagram. Jeferson, drummer of the band, uses it.

Jaffa Cakes? Are they a cake or a biscuit?

I don’t know what Jaffa Cakes are.

Thank you for your time. Is there anything else that you would like to add?

Thanks for the space! Strength and luck to stay in the fight!!!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.



Hi everyone! Welcome to our new EMQ’s interview with Atlanta, Georgia based Hardcore Punk/Grind/Death Metal band Palaces. Huge thanks to them for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Bumpy: My name is Bumpy Bronson; I play bass and begrudgingly share vocal duties with Eric.

JB: Jonathan Balsamo, drums. Palaces was formed in 2010 when I met Eric and M Chvasta (Bass) whose band Light Pupil Dilate was breaking up. I was in Atlanta math-rock band Sorry No Ferrari at the time and wanted to do a heavy project again as my background is metal. We all had similar tastes and began writing songs that we would record and release in 2012 on our first album titled “Tarnish”. Chvasta left the band in early 2014 to focus on his other band Dead Register. After a year of being inactive we were contacted by Jeremy Weeks of Atlanta hardcore band Get Damned. He wanted to join Palaces on bass. We had played shows with Get Damned and were fans of theirs, so we said yes of course haha.

Eric: Hey I’m Eric Searle. I’m the guitarist and sometimes vocalist. As JB said, Bumpy called us up after our old bassist left. We jammed a few times and it felt good, so we decided to carry on as Palaces. We rented a few spaces before settling in at Bill Kelliher’s rehearsal spot ‘Ember City’ where we wrote a good bit of the new record.

How did you come up with your band name?

Bumpy: Eric said he liked it because it was vague or some shit. Pretentious ass…

Eric: He’s not wrong. It was basically, “Hey, what about Palaces?” Nobody could find a reason to hate it, so it stuck.

JB: It immediately resonated with me for several reasons. I feel like it’s a name that doesn’t suggest any particular genre or sub-genre of metal as I feel we don’t fit into a particular classification of metal. It doesn’t colour one’s pre-listen opinion of what they are about to hear. Additionally, it has always been a metaphor for our physical existence – we each inhabit a body and mind that is our Palace. Physical structures get weathered, decay and become ruined eventually and at the same time are beautiful.

What Country/Region are you from and what is the Metal/Rock scene like there?

Eric: We’re from Atlanta Georgia USA. The scene here is getting bigger and better all the time. There are a ton of killer bands here. Every type of metal/rock can be found. People are very supportive of the local scene. We have great clubs/venues/art spaces/ warehouses to put on shows. It’s a great place to be as a musician.

Bumpy: It’s full of variety and has had some real crushers in the past, a little bit too much butt rock now, but what are you gonna do.

JB: Before Covid hit there were shows almost every night of the week, sometimes several a night. All the bands, clubs and promoters make this a great city to play music in, a very inclusive and supportive scene.

What is your latest release? (Album, EP, Single, Video)

Bumpy: It’s an album titled “Hellas Chasma” and the first single from the album is ‘Swarm’.

Eric: It’s 9 songs, but not too long. The songs are pretty eclectic. We’re not a ‘one note’ band. There’s a lot to chew on, but it isn’t too difficult of a listen.

‘Swarm’ Video

Who have been your greatest influences?

Bumpy: Personally, everything from Faith to No More to Sumac, but Caleb Scofield (R.I.P.) and Brian Cook are the two most effecting and influential bassists that have saturated my music brain the past 20 years.

JB: I think as a band we have drawn on a pretty diverse range of music and it all ends up in there somewhere. I personally have always been into Death Metal and Technical Stuff, I grew up listening to thrash, punk, and evolved from there. As a group I would say bands like Cult Leader, Converge, Intronaut, Today Is The Day, Ken Mode, Baptists, Keelhaul, Mastodon, Botch, Dillinger Escape Plan, Oathbreaker and The Armed.

Eric: As a guitarist I love King Buzzo, Bill Steer, East Bay Ray, Johnny Marr, Kevin Shields, James Hetfield, Keith Huckins, etc. There are too many bands to name, but a few would be Fugazi, Smiths, Converge, Deadguy, Dissection.

What first got you into music?

JB: My Dad who was a stoner mathematician, growing up listening to Black Sabbath, Zappa, Pink Floyd, Led Zeppelin, Santana – that whole 70’s scene.

Eric: I’ve been hooked ever since I was a small person. The first artists I remember liking were Fats Domino, The Beatles, Genesis, Traveling Wilburys, and Michael Jackson. My parents played all that stuff.

Bumpy: It’s always been there. My dad played piano his whole life and as god fearing as he is, he can shred something fierce on the keys like Lynyrd Skynyrd or Billy Joel.

If you could collaborate with a current band or musician who would it be?

Bumpy: Stephen Brodsky. I love everything he touches, and I am one of the biggest Steve-stans I know.

Eric: Probably Michael Gira. He’s great at organizing musicians and pulling things out of them to serve his songs. I’d be honoured.

If you could play any festival in the world, which would you choose and why?

JB: That is a tough one, maybe Hellfest?

Bumpy: Reading/Leeds or Glastonbury. They sound so ancient but are still going and have been a huge part of music history.

Eric: HellFest. The line-up is fucking stacked every single year and it looks like it’d be a blast to play. Definitely would love to play Wacken or Brutal Assault too. Any of the Euro festivals please, thank you!

What’s the weirdest gift you have ever received from a fan?

Bumpy: Pretty sure he wasn’t a fan, but a guy gave me his phone number and said we should “text metal.” Yeah, I don’t have his number. Must’ve lost it.

JB: No weird gifts yet but we have gotten some rad hugs.

Eric: Oh yeah, that girl outside 529! Hugs.

If you had one message for your fans, what would it be?

JB: Thank you for listening to us, thank you for coming out to a show and supporting us in any way.

Bumpy: No one’s gonna wait on you to show yourself. If you wanna do something in music or media, do it. Like now. Don’t ask permission. Bug the shit out of people you don’t know to listen or let you play or whatever.

Eric: When you come to one of our shows, just be ready to throw a chair at somebody!!!

If you could bring one rock star back from the dead, who would it be?

Bumpy: Aforementioned, Caleb Scofield.

JB: Isaiah Ikey Owen

Eric: Probably Jeff Buckley, but what if it’s better on the other side? I wouldn’t want to bring him back to this place.

What do you enjoy the most about being a musician? And what do you hate?

Eric: Creating and writing is my favourite thing about being in a band. I love putting the pieces of the puzzle together. That said, turning up loud and bashing shit out is pretty amazing. I don’t really hate anything about it. Sure, it takes a lot of time and doesn’t pay nearly enough, but I’m not mad about it.

Bumpy: Shows. Ever since I was a seventh grader, nothing knocks the self-gratification meter off the charts like playing live. It’s a cliché that’s been worn down to the bone, but I’ve played for 6 people before and I’ve played for 300+, and I felt just as elated as I always have been. Having said that, I think the hate part is what you make of it. If you give more power to hating something, you’ll come to hate shit you used to love, so I try not to feed that bastard any energy.

JB: I love playing live more than anything, I love the energy and volume, playing for people who enjoy relaxing to loud heavy music as a counter to the nature of modern daily life. I guess waiting to play the set is what I hate the most, I’m always impatient to play!

If you could change one thing about the music industry, what would it be?

Bumpy: Make it go back to how it was. The 90‘s really were the best to me. Nostalgia is the enemy but if I could have been a bit older back then and had the chance to experience the grunge, alternative, punk, metal, etc. of that time at festivals, in Blockbusters, in magazines, in Beavis and Butthead episodes; everything just mattered a little bit more to people back then. Music stuck with you for longer.

Eric: It’s a pretty fucked up industry. I feel like there’s the “Industry” and then there’s the “Underground”. I don’t participate much in “Industry” driven music. My musical family and community seem to be in the “Underground”. That’s not by choice though. If death metal bands were getting millions of YouTube views per song, I’d be cool with that. But then that would get ruined too. It’s a vicious cycle.

Name one of your all-time favourite albums?

Eric: Clutch – “Transnational Speedway League”

JB: Mastodon – “Remission”

Bumpy: The Mars Volta – “De-Loused in the Comatorium”

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Bumpy: I’m a sucker for cassettes. They remind me of being a kid. My parents didn’t keep records at home, so I never caught the vinyl bug.

JB: I personally love vinyl for sound.

Eric: Vinyl, Downloads, CD’s, Cassettes in that order.

What’s the best gig that you have played to date?

Bumpy: December 2018 with Cult Leader, Primitive Weapons and the unfuckwithable God Mother from Stockholm. Never played with a crazier band.

JB: For me it’s a tie between opening for Cult Leader/ Godmother and opening for Atlanta super group Primate back in January 2020 – that was a fun show.

Eric: We’ve played with Ken Mode a bunch. Always nice to knock around the balls with those guys.

If you weren’t a musician, what else would you be doing?

Eric: Probably my money-making job, but life would suck a little more if I didn’t play music.

JB: I would be playing drums in my garage – essential to maintaining sanity.

Bumpy: Anything in my power to leave this country until it stops eating itself alive.

Which five people would you invite to a dinner party?

JB: King Diamond X 5

Bumpy: You, Eric, JB, the Jesus from Big Lebowski and Bernie Mac.

Eric: Grandmaster Jay, Richard Spencer, Black Thought, Nadine Strossen, and Elon Musk. What a party that’d be.

What’s next for the band?

JB: We hope to get back to playing live when possible, releasing the new album and doing some touring.

What Social Media/Website links do you use to get your music out to people?

Jaffa Cakes? Are they a cake or a biscuit?

Bumpy: I have family in the UK, and they think they are biscuits, I guess there’s the answer. They also let their 53-year-old son still live at home, so there’s that too.

Eric: Lost me on that one homie.

Thank you for your time. Is there anything else that you would like to add?

Bumpy: Listen to Young Beasts, Malevich and Lost Hours.

Eric: Cheers mates.

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