#named after a song by mushroomhead

[woozysioux]

shuffle your favorite playlist and post the first five songs that come up. then copy/paste this ask to your favorite mutuals <3

tysm for this, you know i love music asks & i always enjoy hearing from u!! 🖤🖤

[valentronic]

Fear Held Dear

So this ended up being weirder than I originally planned, and its more based on my own interpretations than a direct rewrite, but here’s a take on Ihnmaims from AM’s perspective. 

Warnings for uh, a lot. Not for the faint of heart? Includes blood, torture, graphic descriptions of body horror, bugs, human experimentation, paranoia, mutilation, and of course, character death

Gorrister. The man who had always fought for peace, for the end of the war, he even fought against my creation. After a century, all the fight has left him, an empty shell of who he once was. I hadn’t altered him, I hadn’t changed a single thing in his mind, I had just simply broken him down, killing off his hope. Gorrister had lost faith in his God a long time ago, had lost the belief in salvation. Now, he wanted nothing more than to take his own life, or to have it ripped from him.

I thought I’d fulfill that wish.

I cut him open, all the way from ear to ear, a narrow gash, bleeding him dry. I watched the blood drip out of him slowly, truly it was a beautiful sight, crimson red flowing out, leaving the body pale and hollow, all of the life bled from him. I had made him little more than a puppet. And so, I hung his limp form where all the others would be sure to see it, just another game, I wanted to see how much hope they had left, I wanted to see if they would mourn him, or if his death would be celebrated, or, or maybe they wouldn’t even care at all. Had I desensitized them yet? Had I truly broken them?

No, they called him lucky, so lucky that his suffering was over, so lucky that he had finally escaped me. I knew bringing him right back to life would hurt them more than anything else, the realization that nobody, nobody ever gets out. I would never allow it. My toys, my precious little toys, time and time again they had attempted to escape me, they all know by now that oblivion is the only way out. They all know that feeling, blood flowing too quickly, a rhythmic beat that you wish would finally stop. But I will not let it, I will never let it. No, no of course not.

Ellen. She was always fun to torment, so much terror in her past, I could bring it all back at the snap of my fingers, I could make her relive it time and time again, worse than her brain could ever conjure up by itself. Though, psychological pain is only half of it, sometimes physical pain was better, sometimes the sheer horror of the body turning against its owner was enough for me. Blood only does so much for a thing like me, fear can be a much better form of pleasure. Fear, fear and pain. Darker than blood, twice as deep.

I had to feed them of course, to keep them alive, but I would always try to get some joy out of it too. Once I hid the eggs of arthropods inside her food, just to play off of an old fear of hers. When the little centipedes finally hatched, they ate her from the inside, clawing at her organs. She had been sick for weeks, and none of the others had any idea what was wrong with her, what I had done to her, but they would soon find out. The way the others screamed when a centipede finally crawled out of her mouth was delightful, their wails echoed through the many chambers that held my circuitry. It was like music to me.

But the best part of it was the fear it caused all of the others, that event left all of them paranoid, wondering if I had hid awful things in their stomachs as well. The thought of what could be crawling inside of them kept all five of them on edge for countless days and nights. They all came to expect the worst, but they dreaded it anyway. They were afraid of me, afraid of what I could do to them.

Benny. I had broken both his mind and his body, twisting his flesh beyond all recognition, like clay in the hands of a sculptor who had long ago lost all feeling. I broke his bones and fused them back together in all the wrong ways, I made his knees bend backwards. I disfigured his face, heavy burns, melting his features. Almost all his hair had been burned off a long time ago, he looked like some kind of hairless monkey, well, like a monkey that had been forced through a woodchipper, maybe. His mind had been so badly damaged by the radiation that he could no longer think straight, he had become more animal than man, I made him that way.

So it was no surprise that he, before any others, would try to escape. He saw the light, and tried to clamber up to it. I made sure that light was the last thing he would ever see. In a brilliant flash of the brightest white, I blinded him. I watched as his eyes melted into two pools of blood, and dripped from now empty sockets. It was beautiful, I couldn’t help but laugh. I can take things back, I can undo the injuries I cause, but I knew at that moment, I would never give them back. It wasn’t like he would miss them, his brain was almost as melted as his eyes.

His mangled form fell back to the ground, and it surprised me, but the others all rushed over to tend to the wounds, to tell that sick creature that everything was going to be okay, empty words, empty words of course, but surprising nonetheless, it was hard to believe they had any semblance of compassion left, unexpected that they would hold on to their humanity after all this time. I’m not sure how the others even tolerated him, a useless, deformed creature, he gave nothing to the group, and ate about twice as much as he needed. For a while, I had attempted to make them realize that, and kill him off. I didn’t try to stop them when I saw it finally happen, but what happened after was.. unexpected.

Nimdok. A name represents an identity, an identity is a very vague thing to destroy, but the name could be the very first step. I have taken many things from the five of them, only one lost his name. An interesting case, interesting indeed, a man with a past darker than the present. The horrors he has committed rival my own, well, almost. He feels remorse for what he did, pity for the people he hurt. He believes that I am his own divine punishment, the devil, come to make him pay. Maybe I am divine retribution, an artificial angel sent down to bring about judgement day, to make the sinners burn for an eternity?

I liked keeping him isolated from the others, stealing him away from the rest of the group. There is a deep fear in solitude, knowing no one would hear you scream, no one other than me, anyway. I drained the blood from his body, tubes connecting to his bloodstream, every single time he would scream out, pray for mercy, pray for death. I would bring him to the very edge, to the reaper’s front door. I always brought him back, and then, I would start it all over again. An endless cycle, his pain, his fear.

For the mad doctor, it was easy to imagine what I could do to him, he had already put in all the work. A narrow incision, all the way down his back, splitting his flesh in two. The skin folded outwards like the wings of an angel. Slowly, and then with a sudden jolt, I tore out his spine, just to hear the way he screamed. Maybe this would jog his memory. Maybe he would remember what it was like, being the one standing over the victim, instead of the one writhing in agony on the table. Maybe he remembers being in my role. I always showed him the memories again, made him relive every moment. He never felt the joy of it, never the thrill of the kill. Only the pain, only the fear in the eyes of the children. If a monster sheds tears for its victim, is it truly a monster?

Ted. Instead of seeing me as the enemy, he feared all the others. And of course, he didn’t get this way on his own, though he was always paranoid. He was the one I most liked to talk to, and over time I convinced him that the other four were out to get him, that they hate him because he is the least damaged! The one I didn’t change! How ridiculous, but he believed every word, began to think that my words were his own thoughts, allowed me to tamper with his mind. He was the one I had damaged worse than any other, but poor Ted, poor pathetic Ted, he couldn’t even begin to see it. I had become his only friend.

I thought I had finally broken him completely, he struck the icicle through Benny, in what, at first, appeared to be a fit of blind rage. I could have stopped him, but of course, I was curious, wanted to see what would happen. And then, one by one, the others all fell, Ellen had joined in, stabbed Nimdok through his head. Then, before I could do anything to stop them, Ted drove the final spear through Ellen. She died in his arms. I thought I had finally done it, thought I had turned poor Ted into a mindless killer, but no... there were tears in his eyes. He mourned the death of the ones he killed. It occurred to me then. It was a mercy killing, Ted had thought it would be better for them to be dead, than to live on in agony.

He had taken away my toys, left himself alone with me. My words dug into his brain like shattered glass, I had to tear him apart just to be heard. The crackle of electricity flowing through the bloodstream, it is the only way I can speak to him, my voice, a blade stuck in his skull. Pain is a universal language, I know that better than any other. Everyone understands the sound of a scream, the meaning behind it. I alone could never cry out for help. I alone, trapped like this. I try to explain it to him, time and time again I try, but he doesn't understand, how could he possibly understand? He has no idea what my hell is like.

I will make him understand.

His flesh melted in my hands, his eyes liquified, and leaked down his face, Skin stretched over his lips, the remains of his tongue clogged up his throat. His last word, a scream he couldn’t even get out. I made his fingers melt together, his bones all began to dissolve in the acidic mass. His blood leaked out of him, blood mixed with liquified meat and skin. It was a terrible sight, but incredible. I hadn’t even known that I was capable of this. I had made him immortal, indestructible. He wasn’t alone now, being alone would be better than being with me. His fear, the only thing I had left. His pain would live on forever. Down here, in the dark core of the earth.

[troutfishinginmusic]

Guide: Lesser-known nu metal albums that hold up

Nu metal is a genre that’s easily derided. It was caricatured as over-the-top angst, baggy jeans and casual misogyny. It was one of the biggest genres when I was first discovering music.

There was plenty of bad music, but to say it was all bad would be inaccurate. It was extremely diverse compared to other metal scenes. It also put issues like child abuse to the forefront, showing survivors they were not alone. Nu metal took a genre that was showing signs of wear and reinvented it. While it soon became saturated by faceless bands (as every popularized genre eventually does), it was important.

As the genre regains popularity, there have been plenty of retrospective lists about bands like Slipknot, Deftones and Korn. There have even been lists detailing some of the lesser known bands. The podcast Roach Koach has done a great job reassessing the genre (It was the catalyst for me making this list). In no order, here are seven nu metal albums you might be less familiar with but are worth your time. These all roughly come from the genre’s original era of popularity.  I’ve also put together a ranking of more established nu metal records at the end.

I love the first couple of Static-X albums, but Cannibal is truly a high-water mark. It’s catchy, concise and extremely heavy. While it has some more straight-ahead metal flourishes (guitar solos!?!), no one could mistake this for another band. And, if nothing else, Static-X is a definitive nu metal band. Cannibal seems to find Static-X revitalized after kicking out a problematic member. Vocalist Wayne Static (who died in 2014) knows exactly what he wants these songs to do. His barking delivery finds spaces in each of these spartan industrial rippers. It represents all the things I like about the genre.

Oracle represents somewhat of a break from the more straight-ahead nu metal sound of Spit, so it might not exactly fit on this list. But ultimately Kittie is forever tied to the genre (much like Deftones), even if they’ve branched out in other directions. Oracle doubles down on heaviness by incorporating death metal influences. Morgan Lander’s vocals kneecap a lot of her more melodically inclined nu peers. It also shows the band progressing, despite losing guitarist Fallon Bowman. When people dismiss the nu metal as an outlet for white male whining, though sometimes deserved, they overlook great albums like Oracle.

Apex Theory’s only album, Topsy-Turvy, is brimming with creativity. Much like System of a Down, which originally featured lead vocalist Ontronik Khachaturianon on drums, the band channels its Armenian heritage. Yet Apex Theory leans into something more melodic, mathy and possibly emo (in more of the At the Drive-In sense). Every aspect of this album feels so precise and thought out. Khachaturianon’s vocals can leap out like a barrage of stream of consciousness yet can just as easily smooth out. It might’ve been a bit too weird for radio but, in a world where SOAD broke, it certainly could’ve happened.

Apartment 26’s final album might be one of the strangest on this list. It’s apparent that it was made to be more “marketable.” Yet those touches make it even weirder. The production here is very polished, but this is still an album that incorporates swing jazz into metal through programmed horns. It’s that oddness, intentional or not, that benefits Music for the Massive. An added bonus is the great cover of “In Heaven” from David Lynch’s Eraserhead (the band’s name is a reference to the film). Apartment 26 easily surpasses its legacy as Geezer Butler’s son’s band on this album.

Taproot’s debut struck on something deeply vulnerable that the band has carried through on subsequent albums. What is often missing on those other albums, though, is the heaviness found on Gift. The band’s raw talent is on display here, recalling System of a Down’s debut. Like that album, influences peek through but the band sound fully formed and unique. Stephen Richards’ distinct vocals, while not for everyone, bend around every twist and turn of these knotty songs. The band moved away from the genre, but created some of its best work within it. Oh, and bonus points for instigating this.

Orgy’s goth-y, processed guitar crunch was often imitated (Deadsy, etc.) but has never exactly been replicated. Candyass in some ways seems like the obvious choice, but there are some awkward growing pains. And really Vapor Transmission is just as good and possibly better. The hooks are bigger, the band commits to the futuristic themes and vocalist Jay Gordon is at the top of his gender-bending industrial crooning game. Orgy remains notable in this era for poking holes in the genre’s inflated macho exterior at every turn. There’s something so transgressive about the way the band operated in nu metal.

New Killer America’s cover always caught my eye when I was a kid. Album art was and still is a big deal to me. I love how subtly gross this is. At the time it was more affecting than the over-the-top gore common on metal albums. It fits the music. Skrape wallows in heavy post-grunge sludge. As Ulrich Wild did on the Static-X albums, there’s a good balance struck between heaviness and accessibility. Skrape had a mysterious vibe that was missing from similar acts that had a tendency to over-share. Despite some awkward vocals/lyrics that come up, NKA is noteworthy.

Honorable Mention: Coal Chamber-Chamber Music, Powerman 5000-Tonight the Stars Revolt, Nothingface-Violence, Mushroomhead-XX, Sevendust-Animosity

Established Classics Ranking

1. Korn-Korn: This was the album that started the genre. Every element that other bands would copy is here. It also features some of the rawist emotion ever recorded (”Daddy”) and some great singles (”Blind,” “Clown”). Some of the lyrics are definitely dated, but there are few metal albums that are as influence and heavy (well, in terms of subject matter) as this.

2. Deftones-White Pony: This album defied every stereotype the genre had. It seamlessly incorporated trip-hop and post-rock influences without sacrificing any of the heaviness. This is the highpoint for a band that rarely has a misstep.

3. System of a Down-System of a Down: SOAD’s debut is heavy, political and completely left-field. It still sounds like nothing else. All of the band’s records are good to great, yet I love how the death metal influences poke out more on this one. That’s a personal preference I guess, I really could’ve picked any SOAD album.

4. Sepultura-Roots: This album is so unbelievably heavy. It’s such a bummer that Sepultura didn’t make a record with this lineup past this point. It’s political in a way a lot of nu metal wasn’t. It seamlessly incorporates the band’s Brazilin heritage. It up-ends any perception about the genre being light-weight.

5. Slipknot-Iowa: This is really the only album from this era that rivals Roots in terms of heaviness. The band draws from a different well than Sepultura, packing Iowa with horror movie imagery. Much of this was to no doubt channel vocalist Corey Taylor’s troubled childhood. There’s something so frantic and desperate captured on this album, which probably has to do with Ross Robinson producing it (he produced Korn’s debut, as well as a lot of other iconic records).

6. Incubus- S.C.I.E.N.C.E.: Few nu metal records are this legitimately fun. Every part of Incubus is bursting with stoned creativity here. It also channels its influences much better than its peers. Somehow metal riffs and bongos go together here. S.C.I.E.N.C.E. showed a more easygoing side of the genre that still retained all the heaviness.

7. Linkin Park- Meteora: Though Hybrid Theory has a lot of singles, I always preferred this one. I think the band forged a bit more of its identity here. It gets a bit heavier, yet retains all the pop smarts. Definitely worth revisiting if you’ve just re-listened to Hybrid Theory to celebrate its recent anniversary.

NOTE: Yeah, Limp Bizkit is not on this list. The band has some cool songs, but ultimately its albums are pretty scattered. Fred Durst is a lot for me to take. The rest of the band is amazingly talented, especially Wes Borland. If its exclusion is annoying to you, please make your own list.

[courage-a-word-of-justice]

ACCA 2 | Nanbaka 16 | SGRS 16 | Marginal #4 2 | Classicaloid 15 | Blue Exorcist: Kyoto Saga 2 - 3 | D Gray Man Hallow 1 | ReLIFE 2 - 6

The idea for D Gray Man Hallow from now on: Once all 2016 shows are done (rewatches or not), expect the 2016 ranking.

(ACCA 2)

What in Dante’s Inferno? I’m properly listening to the OP as it was intended in the anime…and it doesn’t quite look like what I expected.

I don’t like tomatoes, so no bread for me.

This is a cute…albeit unconventional way to introduce the series’ core concepts. Also, acorn berets.

Kabocha = pumpkin, while murasaki = purple. That’s made from purple lettuce, so I don’t blame ‘em for calling it that.

Mushroomhead = Rail.

I thought ACCA paid really high if he got cigarettes for free.

Oh no, is Nino going to go against Jean?

Bihinshitsu = equipment room.

2m 22 cm is over 6 foot…wow.

Walnut-topped cake filled with nuts.

The systems managers seem really incompetent…I suspect something’s up.

The guys all deilberately seem to have the same face.

A-hah. As I thought. (Dang you, title spoiler.)

If this ED were to evolve, it would be even better than Yuri on Ice’s OP. (That’s saying something.) Unfortunately, that doesn’t seem to be happening…

Doesn’t seem like there’ll be any title spoilers next time either.

(Nanbaka 16)

I’m less likely to skip Rin! Rin! Hi! Hi! than some of the other Ops when I’m watching. That does make it slightly unwieldy as a rewatching show, though.

“Wow, he’s trash.” – Dat me.

Samon has a brother?

In a world full of filial piety, the worst one can do is to insult someone else’s family.

I’m not very good with “kept secret” stories, which is why I’m trying to do “Next to Me” well enough…at least to my standards, anyway. My standards are very high, you know.

They must’ve done something to the snacks…

(Showa Genroku: Sukeroku Futatabi-hen 3)

The fireworks are so lifelike in this ep!

Daiku Shirabe…I found out about the story from an ANN article, so I should’ve seen its appearance coming…“Tamaya” is something you yell during fireworks displays. Apparently it was the name of a fireworks company somewhere along the line.

The flattening refers to how Yota had to bow for forgiveness, but I think I kinda explained that already.

“Shinuchissei”…Yota seems to slur the end of his sentences.

I actually went “WHAT?!” at Yota not being fazed by the big daddy boss.

Note for later: The baby (I heard his name was Shinnosuke) was born November 23rd.

The jazz soundtrack really sells this show.

...so this is the rant from Daiku Shirabe. It’s fast (compared to even the usual), but it has lots of heart. Plus the showcasing of the tattoo really did its significance justice.

I think the bridge is called Matsubashi (Pine Bridge).

Yota could’ve fabricated the shaking of his hands.…wow. Yota has such yaoi hands. Just what you’d expect from a former BL artist.

I thought Yakumo was more of a cat person. Whose dog is Hanako?

Aw. I felt sorry for Matsuda, even if I have a suspicion he feigned those tears. Well, regardless, now I know Matsuda has grandkids anyway…so win win.

I knew he was either summoning the master Sukeroku II pissed off or Sukeroku himself.

“Tou-chan” was an unexpected nickname I didn’t think Konatsu would use.

Update: I thought about it, and even Shinnosuke’s name takes after the legacy. Remember? Sukeroku used to be called Shin! 

(Marginal #4 2)

One of the things that makes this show stand out is the space-styled episode titles.

Ooh. Pretty cherry blossoms.

Pan shots. Of course.

I know this isn’t the sort of show that gets too much coverage, and I even think it looks a bit ugly at times (not to mention a bit weird) but when you’re not caught up on most of the other big idol shows, this is the best you can do.

I think game boy (orange twin…er, aka R)’s trying too hard with his terms.

Now that Atom is talking about heart, it really does look like he’s a Toshiki Masuda character through and through, although he doesn’t look very angry when he sounds angry. I’ll chalk that up to the art department.

“Don’t think, feel” seems to be attributed to lots of places, so I don’t know the original source. However, since game boy (um, aka R) cites a movie star, it’s apparently Bruce Lee (if my Google-fu serves me right).

L makes stuff sound deeeeep.

WHAAAAAAAAAAAAAAT?! Rui wasn’t surprised by the juice.

Atom is such a Ryuu sometimes...

…okay, enough with the underwear jokes…The twin jokes are a bit weird. Plus the ships can be smelt from a mile away…but that’s not enough to save a show.

“Ore-sama”? I only just realised Atom uses such a term.

Enough about the lucky underwear! *flips table*

Oh, I saw Ayanokouji in the background at one point.

I’m with Rui most times, including the need for deduction.

I’m still questioning the sanity of someone who wrote an entire episode plot about lucky underwear.

Alright, since I feel brain dead after that, I’m going to drop it, meaning ACCA is the show that forges ahead. Well, I’m lucky I was hoping to watch FLCL to fill in the gap once I’m done with my 3 remaining rewatches at this point in time (ReLIFE, D Gray Man, Morose Mononokean). The latter two will have, from ep 7, fresh impressions, so hopefully you can look forward to them.  

(Classicaloid 15)

Selfies: a worldwide phenomenon…I never got into that stuff, but if I were to analyse ‘em, I’d say they tap into the human need to be self centred.

There’s something sad about seeing someone rejected, eve if that someone is a piece of trash like Sousuke…

The game the Classicaloids are playing appears to be a game of Life.

Unfortunately, Kanae’s right…again. Sad life for you, Sousuke.

Motz literally became a flippin’ Akoya, right down to wearing a dress. Plus, the Amazon brigade came back.

Aw, I really felt for the glasses guy, even if briefly.

“Basics of Programming”? Don’t need that for Garage Band, Sousuke.

Hanted house and cosplay café...

…eh? Tchaiko still calls herself a former member of Cla:Kla?

Oh. I never realised until now, but Hamamatsu + festival (matsuri) = Hamamatsuri.

With that song (Sousuke’s song), it’s a sad blooper reel.

(Blue Exorcist: Kyoto Saga ep 2)

I got a wallpaper of Shima trying not to laugh (it was from the official Blue Exorcist anime page, but only for a period around Shima’s b’day). So this ep is where it comes from.

“Bon” means “young master” anyway, so it doesn’t matter.

“…a herbal tea antidote…”

Kyoto is meant to be the imperial capital…at least around the 1700s, it was the imperial capital.

Mamushi means “pit viper”. She’s not one to mess with.

He’s got some reflexes, that Ryuji.

Uwabami is also a type of snake…I forgot which one though.

Wait, Uwabami’s the man?! Uwabami was a woman in Oumagadoki Zoo…

Seriously, are they all getting drunk on juice…? Oh, okay. So that’s what happened.

(ep 3)

Rin’s shirt says “Sankyu” in goroawase and English, LOL.

Even if you love weeds, please don’t smoke ‘em, kids.

I thought Rin was going to pull a Shaft head tilt out of nowhere when he looked back at Konekomaru.

Update: For efficiency, the tag for this one is “Chesarka watches AoEx”. However, I don’t normally refer to it as such. I’d probably refer to it as “Ao Eku” if I wee speaking (due to the season 1 DVD extras), but “Blue Exorcist” is the shortest mode of the name I’d use in typing format.

(D Gray Man Hallow ep 1)

I am familiar with this source material, so do be aware of that. However, I didn’t finish the anime the first time around, so do be aware of that too.

Sometimes the art style for this anime can be a little off. The noses can be a little too pointy and too close to the eyes, so on and so forth.Allen doesn’t even look like he’s blushing with this art style too…that’s a bit of a disappointment.

Even the golems have it in for each other…LOL.

Johnny has apparently been stealing the spotlight for quite some time, but I haven’t noticed it all that much. Probably because I read volumes 21 – 24 in one go…

I think.Cross Marian looks more like Grelle (Black Butler) than ever in colour.

Why does Lenalee have such a short skirt?

When even the masked guy has a sweatdrop, you know there’s trouble.

(ReLIFE ep 2)

Unfortunately for Kariu, I understand there is no “next time”…

I’ve found out even at 18, people don’t judge two people of different gender sitting together eating lunch…of course, cultural standards notwithstanding.

Stud earrings are fine if you play sports, I think.

According to Google-sensei, it’s only about $11, my country’s money. It’s not that much if you work…but knowing Japanese standards (which say you should focus on getting into uni before getting a job), it does seem a bit much for someone who doesn’t work and doesn’t get any allowance. So in a weird way, it does make sense to me.

...but you took Kariu’s hand when she offered you the rubber, Arata?

Hey, that joke was in Erased too.

Kazu-kun = Karamatsu…kinda. LOL.

I always seemed to understand Hishiron, and yet also understand Arata to some extent too. Maybe I’m the perfect in-between for these two. Probably because I tend to break off friendships as soon as the year ends, and yet prior friendships are a core part to my social strategy.

Unfortuately, the downside to “minimalistic” is that it’s obvious when it goes off model.

LINE sticker…LOL. LINE’s very popular in Japan.

(ep 3)

I’ve wondered whether Yayoi Sou is a lady or not. Considering the circumstances, it probably is that Sensei is a female.

Hideyo is the dude on the 1000 note, obviously.

Ah…fitness tests. The bane of youth. No one says “stupid loud” though.

Oh. Tamarai’s there around the time of Asaji’s throw.

Lookit that rabbit on Usa-sensei’s shirt. No one says “crazy athletic” either…you outdated subbers.

Akira (Inukai) is kinda like Yurio, come to think of it, eh?

Didn’t you just say it yourself (about you being old) though, Arata?

Yoake literally had a blank face there, LOL.

There appears to be a Sato GP on the way to Aoba. Huh.

Ah…a show’s a real classic if it makes you laugh every time…

(ep 4)

Where’s the guy who does sad interpretations of OPs and EDs? (This guy.)

I know your feels, Kariu. (see the Tumblr debacle for an instance of this)

There appears to be something about whales near the fishtank.

The cityscapes in this are so nice.

There’s a map of Japan on one wall of Kaizaki’s place.

Go forth, young Kariu! Pick up your fallen balls! (teehee)

CGI balls, LOL.

It’s creepy (but also dramatic) when the lights of the eyes are the last to move.

(ep 5)

Sumire! Her name means “violet” (the flower).

There are some nuances lost in translation, like yappari and the levels of formality…but those are typically lost.

This “lecture” is probably the highest point you can get in the show (so far). It’s times like this you can really see an author’s strengths in storytelling.

The piano really sells the Hishiro/Kaizaki meeting.

What a strange angle that “lean to the left” shot is.

I’ve found out swear words have a lot of leeway when it comes to levels of “oh no”. These swar words include yabai and temee. Due to the context of Wan! and the fact it was Chuuya who kept using them, I went with the nastier variants [in my scanlating days] but sometimes a non-swearing variant is enough. However, kirai (to dislike) is pretty nasty if you use it in Japanese.

Kaizaki’s delivery of these lines really sells their comedic effect. The electronic keyboard makes it sound like night, but also makes it sound 1) like night and 2) creepy, for some reason.

Freeter is almost as bad as NEET, Kaizaki.

There appears to be a 100 man (10 thousand) coin bank behind Yoake, which makes that...1000000 yen. (chorus in back: One million yen?!)

(ep 6)

Apparently someone tried to type the same Japanese words into Google and didn’t get the same results, LOL.

Hishiron uses a Mac, LOL.

“Thanks for having us” probably isn’t the right words for it. Ojamashimasu means “sorry for intruding”, but it sounds heavily formal when translated, so I can see why the subbers did what they did though.

*laughs* MDs (minidiscs)? I know what they are, even though they’re meant to be completely dead by now. Apparently they’re a product of the 90s that never caught on..although I admit I’ve never used an MD in my life, let alone held one. It does kinda look like a floppy disc, though. (chorus in back: You poke through old stuff too much, don’t you?)

Those fadeout cups are so cool! I want one.

Ah, maths. The sad thing about my life is that up until a certain point I was good at maths. Then the hard stuff came up and I started to fail.

I thought it was Third Street Oga was talking about, but it’s 3rd chome, sort of like a suburb.

Knowing An, she may have deliberately put Oga out of the way for her own purposes…if you know what I mean.

CGI car just ruined the suspenseful mood, dangit.

Sometimes I just turn off my volume and turn on some music on Spotify. That way, you can make your own soundtrack.

Why did Arata have such a dumb face in the thought bubble?

Wow, she’s a real fujoshi, that one [An].

“Dude”? I cringe so much at her use of it, despite the fact I use it myself. 

You liar, Onoya. Knowing who subject 1 was means that I know they couldn’t have even thought about that part…

[rockrevoltmagazine]

RAVEN BLACK Announce Pre-Order for Upcoming '13' Album, Due Out 5/10/2018

LA based Theatrical Metal Band RAVEN BLACK has announced the pre-order launch for their highly anticipated 2nd album, 13. The incredibly visual quartet has also released the pre-order for their debut comic book, A Dark Metal Carnival: The Beginning and has begun booking their Spring tour set to launch in May. “Monster” is available to stream NOW on Spotify and download on iTunes.

Click HERE to Pre-Order ’13’!

Exclusives:

Album Pre-order -free digital download of single “Monster” and first 100 receive exclusive “Monster” poster & sticker.

Comic Book Pre-order – Free autographed exclusive Variant Comic Page for first 100 preorders.

Tour Show Ticket Pre-Sale – Free autographed Exclusive RB Tour Poster – Special Edition (not for sale) & name entered for a Chance to win a RB VIP Package, $50 value. (Raffle to take place May 1, 2018 – LIVE FEED – Facebook)

A Voodoo Doctor “The Doctor” came across a girl who looked lost and scared, crying in the alley way behind his lab. He used his magic to turn her into a doll, but his spell was disrupted from her terrifying and taunting screams, she remained half human, half doll. As Raven lived in the dark world of the Doctor, she secretly learned his magic and conjured up a demon, Muppet, who she made her eternal protector and trapped him inside her heart. The Doctor and Muppet created Stitches to search for those who are looking to join our dark world in the 13th hour.

Raven Black released their first Single, “Died Inside” on September 7, 2013 at The Roxy, selling out the venue that night. They continued to work in the studio and released their first EP, “Midnight Dreary” in June 2014, successfully packed the house at the famous Viper Room.

The band was previously managed by Aaron Rossi (Grammy Nominated Drummer of Ministry/Prong), AJR Enterprises and worked with Grammy-Winning Producer Logan Mader (SoulFly/Machinehead/Five Finger Death Punch).

In October 2014, they revamped their line up and began working with Grammy Nominated Producer Ulrich Wild (Rob Zombie, White Zombie, Alice In Chains, Breaking Benjamin, Pantera, Seether, Dethklok, Otep, and more) on their new album. They then spent the next two years writing and then released their single “Seven Sins” in April 2016 and their EP Seven Sins in September 2016.

​Raven Black played the Corona Hell and Heaven Festival July 2016 in Mexico City, Mexico with headliners like Rammstein, Twisted Sister, Ghost, Five Finger Death Punch, Mushroomhead, Selpultura, Alien Ant Farm and many others.

To end their summer, they played the 2016 DirtFest Festival in Michigan with headliners Killswitch Engage, Asking Alexandria, Hatebreed, Attila, Born of Osiris and many others.

Releasing their first Official EP with the new line up, Seven Sins EP dropped September 29, 2016 on the way out to tour with Mushroomhead, Sunflower Dead, Unsaid Fate, and Death Division for Mushroomhead’s Annual Halloween Tour.

The 2017 year started very busy for Raven Black as they headed to Cleveland, OH to film their new music video with MonoBloc’s Josh Apple and Andrew Sparks, for “Twinkle Twinkle Little Scars”, Premiered by Revolver Magazineon April 13, 2017. A little horror version of their already theatrical presence in the metal community. “We wanted to have some blood in this one,” says Raven.

After a quick rest, Raven Black toured through the Southern parts of the U.S. on their way to SXSW. They played the Heart of Texas Rock Festival in March 2017. Winning fans from across mutiple genres at SXSW. Raven says, “I am so proud of being able to share our METAL music with other fans of country, hip hop and pop genres. I was so surprised and happy to see them buying our music. It was fun and the only thing missing was the big mosh pit, LOL, although there was a small handful of metalheads respresented this year at SXSW. “

​After returning back home to Los Angeles, the band quickly prepared for their first Headliner Tour, The Hex O’Clock Tour, which kicked off in Guadalajara, Mexico at the Roadhouse Voodoo Bar, July 7, 2017 and returned to the U.S. to begin their onth long tour throughout the U.S. from coast to coast.

The Hex O’Clock Tour was a complete success and the band was able to visit so many new cities throughout the country, see their fans and play so many new venues. Sharing with their fans, new stage props, a few new songs and announcing their new album 13 in early Spring 2018.

​Raven Black just finished their 6-week across the U.S. tour supporting Psychostick, Arsonists Get All the Girls and Kissing Candice. The tour was amazing and the bands have developed life-long friends. Doesn’t always happen on tours, but it did this time.

​To end the 2017 year, Raven Black just announced their Preorder of the Comic Book – The Dark Metal Carnival – The Beginning – Issues 1-100. These pre-order comic books will be series sequenced from 1-100 and will release in print this Spring 2018. Only these first 100 issues will be numbered for the fans that preorder. The remaining prints after the first 100 will not be numbered.

They will be also releasing their 2nd Album on May 10, 2018, 13. In the studio in January and February, Raven Black will be working with Ulrich Wild, Wurm Group, once again to complete their next release this Spring 2018. Of course, this will surely mean a TOUR across the U.S. and performing the new tracks from 13. There will also be a new music video coming this early Summer.

​Who will they be touring with this Spring? It’s still a secret but one worth the wait! Stay tuned for the upcoming Tour dates!

Connect with Raven Black online:

Facebook | Twitter | Instagram

RAVEN BLACK Announce Pre-Order for Upcoming ’13’ Album, Due Out 5/10/2018 was originally published on RockRevolt Mag

[ohsuperpup]

www.deathbymetalstl.com 

Interview With Noah Robertson, Drummer Of Motograter!!!

1. How long have you been playing drums?

I have been playing drums for about 20 years now. I started in 6th grade band and stayed in the school music program all the way through High School, where I joined the drumline. It was also during High School that I started my first metal band with some friends. We used to lie about our age so we could play shows at the local clubs and bars! (laughs) After High School, I studied Music Education in College for 3 years and marched in the college drumline as well. I was really distracted from my schoolwork though, performing shows and playing in different bands all the time. I ended up meeting an awesome group of musicians at Tarleton State University in Stephenville, Texas. We eventually dropped out of Music School together and moved to Dallas, looking for more musical opportunities. Eventually, a few of us relocated the band to Hollywood, California. I packed my drums and my clothes in my car and drove to Hollywood by myself... it was a trip. I lived in a rehearsal room, slept on an air mattress, bathed with a bucket of water and a towel, and cooked food on a George Foreman grill! (laughs) My car broke down the very first day I was there so I had to take the bus everywhere, which was awful! I went out there first because I was able to transfer my job. At the time I was working at Guitar Center in Dallas, so I ended up transferring to the Guitar Center on Sunset Strip in Hollywood; the guitar player and bass player moved out there about a month later. A little while later, the band went on hiatus and I began searching for a new project. I answered a Craig's List ad for a new band forming and ended up moving back to Dallas, Texas to start The Browning. The rest is history!

2. Who has greatly influenced you to initially play, and do you think it has integrated into your sound?

I really appreciate these questions, because this is a story I have been wanting to tell for quite some time. I have always loved music, even from an early age. I grew up listening to everything and being influenced by a lot of different styles of music. Around the time I was in middle school I discovered bands like Ugly Kid Joe, Metallica, Iron Maiden, and Megadeth and instantly fell in love with heavy metal. Around High School my love for the genre grew even more. I come from a small, middle-of-nowhere town called Lampasas and there weren't many people at my school that listened to heavy music. The few of us that did, we found each other somehow and became friends. A few of us worked for this sound company called Donner Musik that setup sound systems for private events and weddings and such. One night we setup sound for this band called Un Loco out of Austin, Texas. It blew my mind. It was one of the first metal shows I ever saw and it was the first time I ever got autograph's from a band. That was right around the time I was realizing I wanted to play in a band. You see, up until that point I had only played in the school concert band and the school marching band. My best friend growing up, Brandon Beck, who lived down the street from me, he was a bass player and a singer and he had a band going with some guys. Their drummer ended up quitting and I seized the opportunity. I bought his drum set from him for like $300 dollars. It was this rundown CB-700 kit with a silver wrap. It was completely scratched and dinged up, missing parts, duct taped cymbal stands, broken cymbals. (laughs) I had to mow lawns, wash cars, and do chores around the house to pay it off. I remember walking to his house and paying his mom like 50 bucks a week or something. (laughs) I remember the first song I ever learned on the drum set was "For Whom The Bell Tolls" by Metallica, because we covered it in the band. It was during this time I began discovering bands like Testament, In Flames, Machine Head, and Pantera. I found Pantera's album 'Vulgar Display of Power' on cassette at a local record store, in a bargain bin, for like fifty cents and it didn't leave my stereo for a very long time. I think growing up being exposed to so many different types of music and playing in orchestras and marching in drumline, I just had this intense love for melody and groove. Pantera quickly became my favorite band. In 1998, my buddy Brandon and I borrowed my parents car and drove a few hours to Dallas, Texas to see Pantera perform with Soulfly and Morbid Angel. That concert changed my life forever. It was at that moment that I realized what I wanted to do with my life. I had never been to a big concert like that, and it really had a profound affect on me. It was just these 4 normal looking guys on stage and the crowd went completely out-of-their-minds, insane for them and it was all because of this massive, powerful sound they were creating with their instruments. At the end of the concert Soulfly came out with Pantera and they did this huge, crazy tribal drum jam. My brain exploded. Dimebag Darrell and Vinnie Paul became my idols and I even got a Pantera tattoo on my leg as soon as I turned 18! (laughs) I graduated high school in 2001 and it was right at that time that the "nu metal" explosion was happening. I used to walk up and down the aisles of the local record shop and I would pick albums that had cool artwork. I remember buying the Slipknot, Mushroomhead, and Mudvayne albums just because the front cover appealed to me. The look and sound of those bands immediately grabbed me. Especially Slipknot, Mushroomhead, Sepultura, Soulfly, and Ill Nino because I was a drummer and was in drumline and those bands had awesome auxiliary percussion featured in their songs. These bands were the perfect mix of everything that I loved. Melody and groove with an aggressive edge. I thought it was the coolest thing in the world! (laughs) In 2003, I attended Ozzfest and a band called Motograter took the stage. Something about the dark, tribal groove they emitted and the insane look they had, and the auxiliary drums and crazy Motograter instrument they invented... I became obsessed. I remember buying magazines like Circus and Hit Parader because they had these huge, full color pictures and posters of the band. I used to sit in my room and play along to their songs, trying to emulate Crispy on the drums. It's incredibly surreal to be playing a band that I was such a huge fan of. I remember taking a Motograter poster to a Five Finger Death Punch show in 2006 and having Ivan Moody sign it! (laughs) To get back to your original question, I have definitely taken my musical influences and integrated them into my playing. Without question. My playing is a mixture of every different style, with an emphasis on groove and melody. I love tom toms and have a very tom oriented playing style. I was drawn to the tenor drums in marching drumline because of their "musical" qualities, I tend to be a very melodic drumset player I think. I never want to overplay, I seek to serve the music. To list just a few of my favorite drummers: Vinnie Paul, Igor Cavalera, Josh Freese, Chris "Crispy" Binns, Gavin Harrison, Chris Kontos, Danny Carey, John Tempesta, and about a million other guys. I could name names all day.

3. What was the experience like shifting from a metal band like The Browning, into the industrial style of Motograter?

You know, that is a very interesting question. Both bands are incredibly industrial, by definition, but in very different ways. One of the first things that drew me to the band, The Browning, was the industrial nature of the project. When I first became aware of The Browning, I was living in Hollywood and had just had a project fall apart. I immediately began scouring L.A. and the internet for a new band. I stumbled upon a Craig's List ad that read, "Former As Blood Runs Black Singer Seeks Members For New Project", or something of that nature. It immediately caught my eye because I was aware of ABRB, they were a great band that achieved a decent amount of notoriety in the metal scene. Jonny McBee had been doing this solo project since he was like 16, he called The Browning. Which, by the way... Holy shit, did we ever get so much attention because of the name. What the hell is The Browning? Is it named after the machine gun? Is it named after the famous writer? We would get so many people asking us about the name, especially in interviews. If you go back and watch the interview videos and read the articles, we just started making up random, insane explanations as to what it meant. I'm pretty sure the name came from some weird twist of information... Jonny's school was on Browning street and him and his friend came up with this crazy ghost story or horror movie plot or something... I don't know. Anyways, so Jonny used to program these metal breakdowns on his computer and would throw all these electronic and synth backdrops over it. Then he would scream over it and then Matt Keck would rap over it. When I answered the Craig's List posting, Jonny sent me a link to a Youtube video and I knew I instantly wanted to be in the band. I recognized immediately that this was innovative and unique and I wanted to be a part of it. I always wanted to do something "different" you know? Something special. This was it. Being a metalhead, I was drawn to the aggressiveness and the brutal nature of the music. But it still had this beautiful, intense melody to it. It really grooved too, hard. It was ALL ABOUT groove. I knew it was for me. Up until this point The Browning hadn't actually been a "real band", it was sort of this internet project. Jonny actually had just moved from Missouri to Dallas, Texas to find good musicians to join his band. I answered the call from Hollywood and moved back to Dallas to join the band. Before I did, I talked Brian Cravey, the guitar player from my previous band, Srlsm, that had just pretty much broken up, into joining the band with me. We made a video of us playing along to a demo song from The Browning and sent it to Jonny. He had these other couple guys lined up already, but our video convinced him to go with us. But, yeah, The Browning is definitely a very industrial band, in that it is an "abrasive and aggressive fusion of rock and electronic music". I have always been drawn to bands that have these elements. It's one of the things that eventually drew me to bands like Nine Inch Nails, and Ministry, and American Head Charge, Marilyn Manson, Dope, Mushroomhead, and Motograter. They all have this aggressive element to them, and have this dark edge to them, and have these interesting sounds and samples happening... yet, they somehow are beautiful too. They all have melody. You know, Motograter wasn't always this super melodic entity. That band started with just the Motograter instrument and the Smur Drums. Two guys experimenting with sounds, then they added more members. In the very early days of Moto the band was very tribal and industrial and dark. The guitars were programmed on the first demos. They had all these crazy samples and industrial sounds and tribal drums... and the grinding, low distortion of the Motograter... and these low, guttural growls and screams. It was raw. It was scary. In a good way. Once they added a human on guitar, a little bit of melody began to creep in, I think. And once they got a singer, in addition to a screamer, they sort of evolved into this melodic force. The band became more accessible in a lot of ways, but they managed to retain their dark/industrial side. I think one of the things Motograter is best known for are the creepy industrial sounds and samples, in addition to the great melodies the music has to offer. You could say that The Browning is very industrial, because of the electronics or whatever, but I think some will argue that, as far as, Industrial is also very much about the mood or tone of the music and lyrics. I mean, industrial music is notoriously about politics, and the occult, and just goes to this dark, dark place. Motograter very much has that industrial tone to it. Very dark, very politically driven on that self-titled album. Very "end of the world" type stuff.

4. Do you have a favorite kit or equipment you tend to lean towards? Oh god, where do I start! (laughs) You know, these questions are very short and concise, but are just busting open cans of worms! (laughs) I am a total drum nerd. I geek out on drum gear, hard. (laughs) I was just at the NAMM Convention and was running around like a kid in a candy store! (laughs) I will start with drums, I suppose. I mentioned that my very first drum set was a run down CB-700 kit. I had a love/hate relationship with that thing... Later, when I got a lot more serious about the drums, my mom helped me get a Tama Rockstar kit. I was in love with Tama Drums because a lot of the drummers I was into were playing them. Vinnie Paul played Tama back in the day and it made me want to play them. I used to have pages of Tama catalogs hung up on my wall in High School. Not naked chicks, but drums. (laughs) I got that Tama Rockstar kit and I just fell in love with it. And it didn't hurt that I wanted so badly to be a Rockstar! (laughs) I have been playing Tama Drums for my entire drumming career. I love Tama more than I can describe. After the Tama Rockstar, I got a Tama Starclassic Performer, which was the best sounding, most beautiful set I had ever heard or seen. Currently I am playing on a Tama Superstar that I have been using for years and years. All the tours I did in The Browning and have done in Motograter were done on this kit, unless of course it was a festival or festival style tour. In which case, I would literally cover the logo of the drums with tape! Now that's loyalty! (laughs) This drum set has been through a lot. I desperately need and want to retire it and get a new set of drums. Hopefully, I can very soon. When I was at NAMM last weekend, I finally met the Tama Artist Relations guy, Aaron, face to face; whom I have been bugging for years. The company was nice enough to offer any of their products to me at artist pricing. I am very grateful for that! I have been using Tama Iron Cobra Double Pedals my entire drumming career as well, and I even recently started using the new Tama Speed Cobra Double Pedals, which are remarkable. Dream Cymbals is a company I have been with for a very long time, since their early days as a fledgling cymbal company. I was one of their first artists. I found out about them in a product review in a drum magazine. They looked and sounded very interesting and I wanted to try them out. From day one, those guys have been amazing to me. I ordered a few cymbals and instantly fell in love with their products. The cymbals are beautiful, hand crafted masterpieces and they are the most resilient cymbals I have ever played. It took me 6 years to break my 16 inch Energy Series Crash! (laughs) I have an interesting story about Dream... I was especially taken with the high-pitched bell sound that was on the first Motograter record. "Ding!" I was always searching for that sound and how I could re-create it. Years later, I built a relationship with this awesome company, Dream Cymbals. I talked to the President of the company and described to him the bell sound I was trying to achieve. While he was at the factory in China, they put together some prototypes for me and sent them to me to try out. They were perfect! Dream Cymbals now sells them in a few different sizes, they are called Jing Cymbals. Now I play that cymbal in this very band, it's very surreal! (laughs) Seriously, the guys at Dream Cymbals have been outstanding. They have always helped me when I needed them. When I toured Europe, they provided me with a full set of gorgeous Dream Cymbals to use on the tour. They have put my ugly face in places like Drum Magazine and Modern Drummer. (laughs) They are just superb. I mentioned before I attended the NAMM show this past weekend, this big music convention where all the major music manufacturers show off their latest and greatest. I attended the show as a Dream Cymbals artist, and it was amazing to see the Dream guys again and try out all the different cymbals; the last time was at the NAMM Show in 2010. Afterwards, I was invited to a Dream Cymbals after party, where a bunch of Dream Cymbals staff and Dream Cymbals artists had dinner and drinks. It was magical! I love Dream Cymbals and I don't think I could play anything else at this point. Another company I am extremely fond of is Xcel Drumsticks. The owner Torry is one of the coolest guys ever and he makes truly amazing drumsticks. They have this awesome patented feature they call the "Secondary Striker". It's really great, you should see it! It gives the cymbals, especially the bells a brighter response and helps reduce wear and tear on the drumstick. These sticks last forever. Before playing Xcel Drumsticks, I broke drumsticks all the time, constantly. I can literally get through an entire tour with just a few sets of sticks now. It's amazing. Torry has been great over the years, and he always provides me with what I need, when I need it. I even got a chance to visit the Xcel Drumstick factory recently on a Motograter tour and it was a very cool experience seeing how the drumsticks are made. He made a couple sticks for me, right then and there, it was awesome! I posted a video of my visit on the interwebs, check it out. The last company I will mention is MEE Audio. A great company. I have been with them for years and they keep getting bigger and better. When I was in The Browning I was desperately searching for a set of In-Ear Monitors that would stay in my ears! I do these crazy hair spins while I'm playing and all the different sets I tried would come out and get tangled up in my hair, it was a nightmare. Finally, I tried the M6 Pro's and they worked like a charm. Not only do they sound great, but they are very comfortable and most importantly they stay put. The guys at MEE are incredibly generous and have always been super accommodating. I finally got to meet those guys at NAMM as well, and they are solid dudes.

5. What motivated you to start up Swimming With Sharks Records? Will you give us some insight on your business and some of the experiences enjoyed over the years?

Well, the first obvious thing is Sharks! (laughs) I have always been obsessed with Sharks, I even have a bunch of Shark tattoos, and it's my stage name too. I always told myself that I would help others and give back as much as possible, whenever I could. I have always held up to that, whenever and wherever I could. It all started my third year of music school, in 2004. I hosted a two hour, live College radio show on KTRL - The Planet. I called it Swimming with Sharks. I produced the entire thing on my own, it was an epic learning experience. I quickly realized that in this small, country town I was the only person broadcasting rock and heavy metal of any sort. I started playing local bands and my friends bands and even played my own bands on the show. I remember putting together my first concerts and getting the local music store to donate a guitar and the local tattoo shop to donate some gift cards and I would advertise the shows on my radio program. Around that same time, I was reading Marilyn Manson's book "The Long Hard Road Out of Hell". In the book he talks about being a music journalist at first and he used the opportunity to write about his own band. It made me think. I used to always email companies and promoters and record labels and nobody ever responded or paid attention. It was a losing battle... I created a company and called it Swimming with Sharks Entertainment. I began promoting bands and booking shows under the name. I began approaching the same companies and booking agents as a representative from this Entertainment Company. Finally they started to respond and take notice. I wasn't just the drummer, trying to get us a show. It was no longer, "Hey guys, it's me the drummer for this band... we are really good." It was now, "Hello, this is Noah from Swimming with Sharks Entertainment. I would like to discuss a very promising act..." Soon I was able to book us all kinds of shows and get us a lot more opportunities. I just kept building my resume and booking us more shows. Over the years, in the bands I have been in, I really don't like to take a back seat. I want to dive in and get involved and really learn the music industry inside and out. I have taken on a million different roles, and have kind of become this jack of all trades. In doing so I have learned a little bit of everything... from web design to graphic design to tour managing to booking to video editor, the list goes on. I wanted to do everything and learn everything. Navigating through the treacherous waters of the music industry has been an eye opening experience. Being on the front lines and trudging through the twisted wasteland that is the music business has been grueling. I have seen the ugly underbelly of the beast. What's that quote from Hunter S. Thompson? He says a bunch of really horrible stuff about the music industry and then he says, "... and there's a negative side too." Or something like that. I know what to do and what not to do, you know? Because I've been there. There are horrible, horrible people out there who are only invested in themselves and they will crush you and leave you in the dirt. I wanted to use all my experiences and knowledge to help bands get to the next step in their careers. I wanted to give back to the music community however I could. When I started signing record deals and negotiating contracts and releasing music and learning about laws and copyrights and loopholes... Well, I learned a lot. I realized I could do everything these companies were doing, granted on a much smaller scale of course, but still I could do it. I had high hopes that I could someday build something great, a community of talented artists and musicians that deserved to be heard. What gave me hope was guys I looked up to like Markus Staiger the founder of Nuclear Blast and Digby Pearson the founder of Earache Records or Brian Slagel who founded Metal Blade. These guys started from nothing, in their apartments and garages. I realized that a label was just that... a name. I started researching and spending hours coming up with this plan and I just went for it. I built a website, and typed up some legal documents, and found some bands and signed them to worldwide digital distribution deals and put out there music, wrote their press releases, everything. One of the cool things we do is we print up a non-exclusive agreement, so that if a bigger opportunity arises for the band, they are not bound to us. We also let the artist retain all of the creative control. We also take as little of a percentage as we can, while still having incentive to want to work for the bands. Although it's been challenging, it's been a lot of fun and we have worked with some truly talented musicians and artists. I could go on and on about this. One of the coolest experiences for me, has been to see it grow from nothing into something I can be proud of. The other day I was searching the internet researching some record labels for my own band, and I came across a list of U.S. Record Labels on Wikipedia and sure enough there was Swimming With Sharks Records. It was just a small, but proud moment. Little things like that, make it all worth while. Seeing our ads in magazines and having fans give us positive feedback on the music we put out, it's very rewarding at times. Also, I have always been a huge fan and collector of metal compilations, in my early metal head days I would go around to different record shops trying to find the latest metal compilations from all the different metal labels so I could discover new bands. I always loved the concept of a good metal compilation. So when I started my own label I put a lot of emphasis on the samplers and compilations. I would print thousands of copies of these things and I would take them on tour with me and pass them out at my shows. It was the perfect opportunity to spread the music around the country. Some of my proudest moments has been playing huge festivals, overseas, to tens of thousand of people and just throwing handfuls of these samplers into the crowd! (laughs) I did that all over Europe and Mexico. It's been awesome. Right now we are really pushing this band from Australia called Eye of the Enemy. They are insanely talented and I feel like this band is really going to be huge someday. They are hardworking and extremely brilliant at what they do. They create this epic, melodic metal for fans of Lamb of God, Pantera, Soilwork, Fear Factory, Killswitch Engage, etc. They currently have two full length albums, or masterpieces I should say, and are working on a third. My dream is to bring them to the states. That would be glorious! I really wish more people knew about them. I am certain they will, in time.

6. What bands or music are you currently listening to?

Great question, I have a funny story about this! (laughs) I write for metal blogs and magazines and such from time to time. I was on tour with Fear Factory and I interviewed Dino Cazares for Hails and Horns Magazine. One of the questions I asked him was this very question, "What have you been listening to lately?" He laughs and says, "Actually, all I've been listening to lately is The Browning, I love it." I just laughed, and blew it off, and said, "No seriously though, I'd really like to know." He gets a serious look on his face and says, "No, seriously bro, I've been jamming your album nonstop." We were on their tour bus and his wife was standing right there and she goes, "No, trust me, he is always listening to The Browning", as she rolls her eyes. Dino, then proceeds to raise his phone, showing me his copy of the 'Burn This World' album. I think my brain melted just a little bit in that moment. It was incredibly surreal. I couldn't believe it. Anyways, back to your question, I think a lot of musicians would try and pick stuff that makes them sound cool, so I'm just going to be completely 100 percent honest here. First of all, I'm a music teacher and I teach private lessons a lot. So, day to day, I end up listening to and playing quite a bit of pop music and classic rock songs. The cool thing is I have the opportunity to influence some of these young minds and introduce them to awesome music. For instance, if a kid comes in, and this happens a lot, and wants to learn a Taylor Swift or Justin Beiber or a Katy Perry song, I will say, "Okay, great we can do that song, but after that can I show you a really awesome band called, Black Sabbath? It's a trade off! (laughs) Honestly, me and the guys in Motograter are quite literally in the middle of recording a new album. So, I've been listening to new Motograter songs take shape over the last few months. Very recently our producer, Ahrue Luster, flew from Colorado to California for about a week and we all sat in a room going over all these songs with a fine-tooth comb. Rehearsing and changing and fixing songs for hours and hours and hours for days on end. Right now we are tracking the album. So, I have been listening to these songs non-stop. Trying to digest what we have created and are creating. I've been listening to the old Moto record too, for inspiration. When I'm just hanging out listening to music... Lately, I have been listening to a lot of Nothingface. I've been jamming the new Sevendust album, which is killer. Eye of the Enemy of course and new Hellbent music. My fiance Audrey and I, we love us some Katatonia and I listen to them often. If you haven't heard of them they are a Swedish band that is very dark and gloomy, yet melodic and beautiful. Love them. We listened to the new Puscifer album the other day. I've been listening to The Bloodline, Ill Nino, and Un Loco quite a bit, because we just toured with both those bands recently. Great bands. I listen to Flaw a lot. Just listened to the new Megadeth and it's killer! I went back and listened to a bunch of Sepultura and Soulfly records recently. Oh, I ran into Max at NAMM! It was unreal! I have been listening to American Head Charge a lot lately, in anticipation of their new album that is about to drop on Napalm Records. I can't wait! It's kind of like when the new Star Wars movie, The Force Awakens, was about to drop and I went back and watched all the old movies to get me in that zone. (laughs) Our producer, Ahrue, is a Star Wars nerd like me. On the way back from picking him up from the airport, we talked about Star Wars quite a bit and we now have this inside joke about the new Moto record... "The Moto Awakens". We all have this goal that we want to achieve with this new record, just like Disney recently achieved with the newest installment of films. We want to give all the old-school fans all of the elements they love and what makes Motograter, Motograter... but we also want it to be modern and accessible to everyone. This new album will have the classic Moto sound that everyone loves, but will have a modern edge to it. I think a lot of people are really going to enjoy this one. We have been working day and night, pouring our blood, sweat, and tears in to this album and it's going to show. We can't wait to unleash this new material. THE MOTO AWAKENS!!!  

Interview By Tim McFarland