Q. Introduce Yourself.

A. My name is Abaddon, founder and original drummer for the English thrash metal band Venom.

Q. How did you get involved in music and drums?

A. I have always been interested in heavy metal and hard rock from a very early age. Some of my favourites include: Deep Purple, Black Sabbath, Pink Floyd and any band with a colour in its name (laughs). I became a drummer because we couldn’t find anyone else who wanted to do it.

Q. Where did the name Abaddon come from?

A. It’s Hebrew, Appolyon the destroyer was charged with creating humans.

Q. How did Venom Inc come together?

A. I was at a gig in my home town of Newcastle (UK) when Tony and Jeff got up to play a Venom track at a festival there. The promoter of a German festival called ‘Keep It True’ was there and was surprised when I did not get up with them. He saw an opportunity for this to happen at his festival some months later and it was only supposed to be a one-off event, but we have been getting offers to play ever since.

Q. As an original Venom member, what are your thoughts on Cronos releasing new music under the Venom name?

A. I lost interest in the whole thing for quite a few years, and Jeff was going through a bad patch and Cronos took advantage of the situation and took the name and my original logo. I don’t care what he does, I’m only interested in our situation now and where that is going.

Q. What is your favourite Venom album?

A. I think it’s common knowledge that Prime Evil is my favourite. Welcome to Hell started it, Black Metal defined a culture and sub-genre, but Prime Evil was a rebirth and a fucking great album to do it with.

Q. Biggest drum influence? (I too am a drummer and you are one of mine)

A. Cozy Powell and Ian Paice. They are the sound of my teenage years. Thank you for saying that about me, I guess it’s the same for you. These are the sounds I grew up too.

Q. In 1988, Cronos left Venom and was replaced by Tony ‘Demolition Man’ Dolan. How did this change the foundation of the band, and how did the fans react back then?

A. The band was reborn as I’ve mentioned, but most staunch fans didn’t like it. Hardcore metal fans don’t like change too much, but it was such a strong album, that we rode the wave generated by it.

Q. What was the reason for Cronos’s departure?

A. I’d already left after Calm Before the Storm and he was left with the nucleus of that band, the two guitar players I got in the band Jim Clare and Mike Hickey, so he just needed a drummer, change the name of the band to Cronos and continue. I told him that I was carrying on as Venom.

Q. After ‘Cast in Stone’ Cronos brother ended up drumming for Venom. How did this happen?

A. Because after the Cast album, and a subsequent tour, Jeff Eric Cook (Venom’s manager) and myself had a meeting and decided we couldn’t work with Cronos once again, so I wrote to him and sacked him. Next thing I knew Cronos and Jeff were working on the next album in Germany. They sent me the tape of what would become Resurrection to do the drum parts… I told them to fuck off. Cronos rang his brother he flew out and did it.

Q. Venom’s first albums are notorious for their sound quality. How were they recorded originally?

A. Very quickly on a shoe string budget. We were new to it all, the equipment was old and weary. The studio was not used to our infernal racket, mics, headphones, monitors were breaking, they just couldn’t handle the cacophony.

Q. I can’t wait for the Adelaide show, how is the rest of the band feeling to do an Australian tour?

A. Well of course everyone is pumped up, I think we’ve got a lot of likeminded friends down under, but we’ve got a lot to prove also. I can’t fucking wait man.

Q. Any advice for young metal musicians today?

A. Yeah…. Get together in a church or school hall and make mistakes. But enjoy making mistakes. Play from the heart like it’s your last chance at that fucking song. Then learn to laugh with your mates when it falls apart and then do it all again.

Q. Any drum tips for metal drummers?

A. Just get the best equipment you can afford, try lots of different cymbals and sticks and heads. Try other people’s gear if they’ll let you. Talk to others about technique and playing. Learn a few basic rudiments. BUT MOST OF ALL…….. HAVE FUCKING FUN!

Q. Final words?

A. I’m absolutely buzzing about being able to come and play for you guys. Oh, and come and say hello.

Text Copyright Jakam Kourasanis 2018. All Rights Reserved.

Q. Introduce Yourself.

A: Hi, this is Tony ‘Demolition Man’ Dolan from VENOM INC and I am the Bass/Vocalist.

Q. You first came to prominence with Atomkraft (who were formed the same place and time of Venom), tell us about Atomkfraft.

A: Atomkraft was formed as a punk band at in 1978, then we morphed into a metal band, fusing the two elements in the same year. I returned to the UK in 1978, after a stay in Canada. There I witnessed the punk movement, and my fate was sealed. A band who stood out was Motörhead, they had long hair but were supported by punks. It was then I knew my fate was sealed.

The band (Atomkraft) started as punks because we had not yet mastered playing instruments, and with punk that wasn’t important, only the expression was. As I followed Motörhead I wanted to get that heaviness, but keep the speed and intensity of punk. The energy of punk bands was indisputable. I loved a US band called the Dickies and their speed was furious. I decided that a cool idea would be to fuse all of it, and our ‘punk’ band became Atomkraft and an uncompromising Metal band (at the time).

Our [lyrical] themes were mainly nuclear war and humankind’s behaviours. By 1979, we had recorded many home demos and continued as a metal band. Great times of discovery.

All the local bands at that time were New Wave of British Heavy Metal bands (NWOBHM) including Raven (who I loved).

I wasn’t enthused by that style, so I guess we went sideways from all that. I saw an image from a photo session a year later when my girlfriend’s friend showed us a copy of some photographs from her boyfriend’s band. They were all on a beach and I thought they looked funny. That band was Venom. I was intrigued, and I recognised her boyfriend from a year or more before we (Atomkraft) had gone into Impulse Studios in Wallsend to talk about a studio demo. We were shown around by a young skinny tape op called Conrad (Cronos). That was him in the photo. Another guy in the photo was going out with a girl who lived with her family literally across the road from my house! That was guitarist Jeff Dunn (Mantas). The third guy I had seen around Newcastle in pubs was drummer Antony Bray (Abaddon). They were Venom.

I was interested, and Jeff’s girlfriend’s brother used to come to my house sometimes. He was learning guitar and we talked about Jeff and the band. When Venom’s first single was done he brought it for me to listen to.

I enjoyed the dark theme, the chaotic sound and the speed. It spoke to me and the Satanic elements were very similar to my own band and our approach.

We ended up as label mates and toured together.

In 1988 I joined Venom as bassist and vocalist (laughs) …funny how life twists and turns…

Q. In 1988, you replaced Cronos for Venom’s ‘Prime Evil’ album. How did this happen?

A: I joined in 1988 and started writing for Prime Evil straight away. Basically, Atomkraft had just completed a tour with Nasty Savage and Exumer, we were riding high with a new album demoed. After the tour the singer left as did the guitarist. And I wasn’t sure why, but I had the impulse to start all over again looking for people to form a band. I was considering what I wanted to do when Abaddon and the Venom manager Eric Cook called me and asked if I would meet them in a pub. I went, and they explained Conrad (Cronos) had left because he wanted to do his ‘David Lee Roth’ thing in the USA, and were due a new album on MFN (Music for Nations) and I could get £10,000 if I signed up. I thought about it and realised I’d be with my mates playing cool songs, having a laugh AND I’d get £10,000!! Which was cool, but I felt if Mantas wasn’t there, it wouldn’t be Venom.

Jeff (Mantas) was hard to be convinced at first for Abaddon but when I spoke to Jeff, we agreed we should do it together. Thus, the next phase was born. I never did get £10,000 by the way (laughs), I didn’t end up getting publishing either (laughs) Even though I wrote so much of the albums. Guess that’s just how it goes. I was never just about the money, I loved the playing.

Q. You did four other albums with Venom, before leaving in 1993. What are some of the highlights from playing with Venom?

A: Yes, Prime Evil, Tear Your Souls Apart (E.P.), Temples of Ice, the Wastelands, the Live ’90 video and Kissing the Beast.

Highlights? The fans and shows. The first recordings were great fun to do, the playing out was great, so many great shows. The fans were respectful, and the reviews were flying for Prime Evil. As we progressed the shows and reviews got better and better. I had immense fun also playing classics and new tracks, but we didn’t tour enough, and the management chose some lower key tours that we never should have done. That was when I decided that I should move on and take a new job I had in London. There were no arguments or anything, it just came to a natural conclusion for me and Jeff.

I’ve heard all sorts of stories from Conrad about what, when, why and how, but it’s all propaganda. He featured in zero of any of it, until long after I left and the did the Dynamo for money.

Q. Where did your nickname ‘Demolition’ come from?

A: Atomkraft were doing a show and I went into a bass solo (everyone did solo’s in those days) I leapt up onto a platform and pulled all my amps over and everything exploded and caught fire, myself and the roadies raced back to put all to right and the fire out (laughs). While my Guitarist at the time, Steve White, calmly spoke into the microphone…. Ladies and Gentlemen….THE DEMOLITION MAN!! It stuck. I’ve been breaking things ever since (laughs).

Q. Obviously, Venom Inc has a lot to live up to. How have the fans responded to Ave and the shows?

A: It has been incredible. We always had support, but we’ve done hundreds of shows now in such a short space of time and then the album came out, and it went ballistic. It is impossible to put into words, but it is better than it ever was…

Q. How was Venom Inc formed?

A: Oliver Weinsheimer asked me after an Atomkraft show I did (at a retro festival in the UK) if he booked M:PIRE of EVIL (My post Venom band with Mantas) to play his festival in Germany (Keep It True) and Abaddon was there, what would be the chances of inviting him onstage to play a handful of Venom classics?

He seemed enthused that I had got Mantas onstage with me as Atomkraft to play some songs and Abaddon was there in the audience.

I said I didn’t think it could happen, but he insisted, telling me, if anyone could make it happen, I could, so long story short…I did. And here we are (laughs).

The idea was to play as a surprise for the 2000 fans there and then go apart again back to what we were all doing, but it went nuts, and by the time I was returning to the UK, I was booking us for Japan, China, Taiwan, South America etc, etc…(laughs) Crazy BUT ALL fan driven…

Q. How was Ave recorded?

A: Well, we wanted it organic as much as possible, but were limited for time as it hadn’t been planned to do any release and also, Mantas lives in another country and myself and Abaddon opposite ends of England. We then utilised technology as much as we could and did analogue recording, to keep it real.

Mantas sent tracks to me to work on, then when we had all the files, they were sent up north to Abaddon who went into a studio and recorded all his drum parts.

Those files were then sent to Portugal where Mantas lives and works in his studio (a real one, not one is his bedroom, no mics hanging off sock draws like they did for the WELCOME TO HELL album). I then flew to Portugal, where we completed the writing and spent a week doing all the bass and vocals.

Mantas then mixed and mastered, with help from our engineering mate from Germany, Kalle, who is a genius in the studio. I returned to the UK while they completed that process and completed all the art and layout for the album.

Q. After the tour, are there plans for a new studio album?

A: Yes, end of 2018 we will knuckle down to complete writing, and the next album will be early 2019, but there are some release surprises planned before then too. I already have a clutch of stuff and Mantas is always writing too, so he has a tonne.

Q. I’m seeing you guys in Adelaide, have you ever played Australia before, and if so, do you have any favourite memories?

A: NEVER played Australia before and I personally have been trying to get us there from day one. And now, with great thanks to Hardline and Flaming Arts, we are coming. I cannot wait and meeting you will be great. Show me Adelaide, what you’ve got…I hear the women are top notch too so, all’s well…. (laughs)

Q. What are yours and the band’s thoughts on Cronos’s new Venom?

A: We all have our own views. For me I think the fans deserve to see everyone, not just one aspect. I thought by us doing so much touring etc. it would push them to tour more, but it isn’t about anything more than money it seems, which is a shame. Still, as long as there is new product and the spirit is there then that is great for the fans. But it must be real and not faked.

Q. You played guitar before bass. Who are your main influences in music?

A: Yes, well, I was raised on Rock N Roll, so I started young. I have so many musicians I respect, perhaps influenced by, but Lemmy was my main influence for sound and rhythm. Bass wise? Billy Sheenan and Geddy Lee. Guitar? Gary Moore and Peter Green. Oh just too many now I think…

Q. What advice would you give young metal musicians starting out today?

A: Go for it, believe in you, trust only yourself. If 1000 say no, it is okay, because you only need one yes so learn to be tough skinned for every 10 who says you’re the best, 5 will say you are shit and they hate you. NEVER stop if YOU do not want to. And remember, you aren’t out there playing for the ones who do not want to hear you…. only the ones that do!

Q. Final words?

A: Thank you for this cool interview and thank you all for reading. For the support to myself and my bands in whole or in part for this whole journey, THANKYOU!

See you soon Australia. CANNOT WAIT TO DELIVER…It’s about fucking time…!! AVE!

Text Copyright Jakam Kourasanis 2018. All Rights Reserved.

IN the beginning… back in 1955, Bon Scott snarls from the front of the stage, SM58 held to his mouth,with the cord draped around his arm, Angus commanding the stage like a madman, Malcolm, Phil andMark laying down a solid foundation groove that hits ya like a juggernaut drill aimed for your skull.

That was AC/DC. The real AC/DC, before drugs, drink and death took control of Australia’s most powerful rock band.

Bon Scott died in February 1980, the 19th to be exact.

It was thought that Bon had taken the future of the band with him, until parents Isa and Chick, told the boys that Bon wouldn’t have wanted them to split.

Less than six months after his death, his band released the massive ‘Back In Black’ album, which cemented their place in rock history.

Scott’s death hit the band hard, the album was a tribute to him, and the all black cover, was a sign of a band in mourning (the band’s name and album titles were embossed on first vinyl releases).

With AC/DC’s future currently uncertain, fans are eager to hear classic AC/DC played live. A lot of deeper cuts the band recorded with Bon, haven’t exactly been played with Brian (there are some, yes, and Axl has sung a few with the band), but these songs never gained their rightful place in AC/DC’s often predictable set-lists.

These set-lists, which deter fans from buying new live releases, hardly get touched until the band releases a new album, takes out the old album’s singles, places the new album’s singles in, shuffles the order and goes out on the road and tours.

AC/DC’s influence in rock is undeniable. Everybody from thrash metallers Dave Mustaine (Megadeth), Scott Ian (Anthrax — who has Malcolm and Angus tattooed on him), hard rockers like Slash, punk rockers The Dropkick Murphys, as well as new bands who have sung the bands praises (Robert Ortiz –Escape The Fate).

James Morley (bassist for The Angels, 1989–92) is a lifelong AC/DC fan, and has spearheaded the Bon But Not Forgotten tours for the past six years.

James said he came up with the idea about five or six years ago.

“I wanted to do something for Bon’s birthday (9 July), and have it as big as possible,” he said.

This year’s lineup mirrors the 2011 lineup, albeit without guitarist Mick Adkins.

The lineup has also included members of AC/DC, The Angels, Rose Tattoo, The Poor, The Choirboys,Screaming Jets.

“Most of our musos are accomplished musicians,” James said.

Morley got his start in Perth, drumming for cover bands during his teenage years, after picking them up at the age of nine.

Morley said he professionally got into music at 16.

“I kicked over to the bass, playing in bands around Perth,” he said.

“One of James’ early bands was a covers band who played “mostly Angels, AC/DC and probably Midnight Oil.”

Around this time, The Angels were looking for a bass player.

“I heard the (bassist) Jim (Hilburn) was leaving, so got hold of the band and said I was interested, I got an audition, and fell in from there.

“Because of my old band, I knew all the songs,” he adds.

Former AC/DC drummer Simon Wright (1983–89) and bassist Mark Evans (1975–77) are the bands rhythm section.

Wright provided the drums to the albums Fly On The Wall (1985), Who Made Who (1986), Blow Up Your Video (1988) before Chris Slade took over in late 1989.

Evans played on the albums TNT (1975), Dirty Deeds Done Dirt Cheap (1976), Let There Be Rock (1977).

Former Angels bassist James Morley plays rhythm guitar. Morley appeared on The Angels albums Beyond Salvation (1989) and Red Back Fever (1991).

The Poor frontman Anthony ‘Skenie” Skene on vocals, and YouTube sensation and guitar equipment manufacturer SoloDallas is playing lead guitar. The Poor supported AC/DC on the Australian leg of the ‘Ballbreaker’ tour in 1996, and also included a nephew of Angus and Malcom, James Young on drums.

“Morley said he got Simon, Mark and everyone involved because he wanted to keep it as true to the real AC/DC as possible.

“Even with its revolving lineup, Marks been there most years and I’ve been there every year,” he said.

“There’s only so many songs you can do, so we change the lineup around, get in other AC/DC fans, those who grew up with it, to keep it fresh and interesting.

“Everyone adds their own little flavour to the songs too, which is good,” James added.

“There’s been a lot of people involved, but this year is the quintessential lineup.

“I keep in touch with Mark and Simon reguarly, and I see Skenie around every time I’m in Brisbane, he’s a mad Bon Scott fan, he did the first one with us, with Dave Gleeson five years ago.

“It’s pretty easy to get a lineup together, all what we want to do.

“Filippo and I have been talking online for a couple of years, he’s the closest I’ve ever heard anybody to Angus Young, and he knew how I played like Malcolm, so it was bound to come together.

“We’ll do the usual Let There Be Rock and Whole Lotta Rosie, the hits.

“Theres a few songs AC/DC never played live, and a few we wanted to do ourselves.

“There’s a few surprises there for diehard AC/DC fans.”

Bon But Not Forgotten playing live at the Gov Thursday, 6 July. Tickets at moshtix.

Good pub rock is becoming more and more difficult to find in Australia, due to lack of interest from the general public. Which is sad, folks these days would rather sit at home, and watch TV, thinking they aren’t missing anything. As it turns out, those people are missing bands like The Menace, Adelaide’s premier original pub rock act.

Comprised of two brothers bassist Stuart and guitarist/vocalist Scott Gordon and drummer Brad Tsoumbris, the band regularly perform to satisfied patrons in local Adelaide pubs. The band released an album in 2011 titled ‘My City’. ‘My City’ was a decent enough album, very repetitive and it suffered from sound issues (mainly on the drums), but the band were (and are) awesome live, and that never came through until “Off The Leash”.

“Off The Leash” starts with “Hallowed (Be My Name)” a fast paced rocker, with rapid power chord changes, a driving drum beat, pounding bass. An exciting track for sure, a great opener live.

The band slows it down a bit for the title track, which shows the bands darker influences. “I’m off the leash again”.. vocalist Scott growls as he leaves little to the imagination

The band’s first music video “Way She Moves”(https://www.youtube.com/watch?v=nwiPDlFgit8) comes next, and follows the same template as the rest of the albums songs, power chord riffs, a pounding drumbeat and a thundering bass. While the songs all follow the same template, repetition is not found between songs. Each song stands up on it’s own.

“Panic Stage” — the fourth track on the album, starts with Scott singing unaccompanied by any instrument, and slowly builds into an Angels-esque slow rocker.

“Razor Blade” is the fifth track and follows the same vein as “Hallowed”. A true hard rock song, this song is one of the weakier songs on the album, but thats not to say its a bad song, its a great song, just not one of the best on this album. This song has a different impact live.

“Broken Road” is one of the albums true standout points. Written about bushfires surrounding loved ones, (and like the song “My City” the band incorporates news reports into the song). This song has a very personal meaning to the band, and you can hear that in the performance.

“The Menace” is an instrumental piece, which features some fantastic lead guitar work.

https://www.facebook.com/Menace1993/

https://www.facebook.com/groups/292798614202055/

https://www.themenaceonline.com/

One of the greatest (and most crudely underrated) guitarists of the seventies is a man who replaced Ritchie Blackmore in Deep Purple, Domenic Toriano in James Gang, made a few great solo records and played on ‘Spectrum’, an album by Billy Cobham (which was the album that got him spotted by Deep Purple).

Original Deep Purple guitarist and founder Ritchie Blackmore, was not interested in how Deep Purple’s musical sound was evolving (which was heavily influenced by Glenn Hughes, who replaced Roger Glover), and quit the band after a final show in Paris (April 7 1975). Deep Purple was rapidly destroying itself, and a result of Blackmore’s departure, organist Jon Lord also wanted to leave. Lord attended and played a jam with Deep Purple, which featured Bolin, and he enjoyed it.

The band’s first duties were concerts to be held in Jakarta, Indonesia, which at the time was a military dictatorship. Jakarta had never seen a world famous rock band before. In the band’s convey, were more than just cars. Military tanks were also on show, driving with the band, escorting them if you will. They were hired to perform one concert, which held 25,000 people, but ticket sales were in excess of 120,000. They also sold an extra night. Security dogs were let loose, and Glenn Hughes can remember seeing “Kids and people with limbs being chewed on… it was like World War Five… it was horrific”. To sum it all up, a crew member died as a result of an ‘accident’. Band members believed he was murdered. Bassist Glenn Hughes and his friends, as well as Deep Purple’s manager were arrested for murder.

The band were forced to perform the extra night. Jon Lord: “I think we played forty minutes, with our heads down, tears in our eyes”. Fans didn’t really like new guitarist Tommy Bolin. Bolin was subjected to verbal abuse onstage. Bolin was taking more and more drugs, and was becoming more dependent on heroin. Drummer Ian Paice “One of those guys you knew were never gonna be fourty years old” says of his old bandmate. After Deep Purple’s split, Tommy made some excellent solo albums, and in support of one of them, Private Eyes, Tommy toured opening for Peter Frampton and Jeff Beck. Bolin’s final show was December 3rd 1976 in Miami. That night he also posed for his last photo, backstage with Jeff Beck. The photo appeared in Rolling Stone Magazine.

Hours later, December 4th, Tommy died in his hotel room from an overdose of heroin, alcohol, cocaine and barbiturates. He was twenty five years old. Dean Guitars have manufactured a tribute guitar to Tommy, with the album art for Teaser as the body’s paint job.

Vale Tommy, your guitar work will live on forever.

Text Copyright Jakam Kourasanis 2016. Originally published by Odious Agenda Publishing for Odious Magazine — http://www.odiousagendapublishing.com/webzine/odiousmagazineissue1.pdf

Las Vegas hardcore natives Escape The Fate will be heading to Australia next month for six shows starting in Brisbane and finishing up in Perth. Along the way the band will stop in Newcastle, Sydney, Melbourne and also Adelaide.

The band are heading down under in support of their latest record, Hate Me (released in 2015 by Eleven Seven Music), and have been in tour mode for much of this year.

I had the privilege of talking to drummer and founding member Robert Ortiz who told me about his history and this tour.

“I’ve always been a rocker, I grew up that way,” Robert says of his youth. “That just came to me, I was born into it. Lars [Ulrich, drummer of Metallica] was always my biggest influence. When I was 10, I told my dad, ‘I gotta play the drums’.”

The influence of Metallica set Robert up for life and music became his primary focus and vision.

“I’m pretty self-taught, man. I’d put on my favorite records and just jam. I probably should’ve taken lessons and learnt some rudiments and played to a click. But I have a certain style which is [actually] pretty simple.”

“I don’t play a lot of technical stuff,” he then adds.

Robert compares his drumming technique to those used by AC/DC and Metallica.

“I always wanted to be more of an AC/DC, Metallica, sloppy, dirty, grimy drummer,” he announces.

Escape The Fate are certainly no strangers to Australia as the band toured here in 2008, in 2010 as a part of the ill-fated annual Soundwave and again in 2011 with Pierce The Veil.

This year marks the band’s fourth Australian trip and second headlining tour of this country.

“I’ve been saying this for some time that my most memorable shows have been in Australia. I don’t know why but Australia seems to be a second home for Escape The Fate,” Robert says with conviction.

“And that’s not to say that places like France or the United Kingdom [aren’t good for us] — well, it’s not like the hate us as we have dope shows there too.”

“But [Australian] people seem to get it and I can’t wait to be rock’n’rollin’ for you,” he says. “Adelaide’s got this huge whole outside mall-type situation and there’s like a grass area kind of close to that with a giant flag and the hotel I stayed at was dope.”

Escape The Fate started life in 2004 and in 2005 won a radio contest judged by My Chemical Romance which won them a show opening for that group.

The band’s line-up at this point was future Falling In Reverse vocalist Ronnie Radke, guitarists Monte Money and Omar Espinosa, keyboard player Carson Allen and bass player Max Green with Robert on drums.

This line-up recorded an EP, There’s No Sympathy When You’re Dead, as well as the full-length debut album, Dying Is Your Latest Fashion. The band’s line-up then changed for a second album, The War Is Ours, dropping Espinosa and Allen from the fold as well as Radke who then formed Falling In Reverse.

Escape The Fate replaced Radke with Blessthefall vocalist Craig Mabbit, who made his debut on The War Is Ours. The tour to promote the album also marked their first full-length venture.

Robert, therefore, remains the band’s only original member.

“I’ve been there since the beginning, man, and I’m the last one left. At times, quite frankly, it does get a little bit frustrating. It’s no secret that Dying Is Your Latest Fashion turns 10-years-old this month.”

“So when I wanna do stuff from that album I have to be mindful of the fact it is just only me. Craig [Mabbitt — vocals] and I have a whole other legacy beyond that album.”

“And there’s a whole fanbase that doesn’t care much for Dying Is Your Latest Fashion. But I still have that as part of my life and still want to perform some of those songs. So, at times, it can be frustrating but it’s cool. And when fans come up to you and say, ‘I’ve been following you since the beginning, I still love what you guys do’, it’s weird to hear.”

“I’m the drummer, man, but behind the scenes it takes a lot to make a band work and it’s really crazy to know I’m the last one. And I know I’m the connection to the beginning — not the singer or this guy or that guy. It’s me.”

Robert also makes it very obvious during our chat that he loves Australia and the band are also looking forward to touring our country. He then describes some of his favorite memories of touring here.

“Hanging out in Melbourne, seeing the penguins and seeing Sydney Opera House. It’s stuff you guys take for granted because it’s in your backyard but it’s a dream I always wanted to achieve, just to say I was there.”

“On our first trip there, there was a guy who used to wear a cheetah coat they called Robert The Tank,” he says referring to himself. “But I killed that guy off a while ago as I couldn’t function that way as a human being. I was destined to crash and burn just like my idols.”

“We were partying hard and one night we went to a club which was three storeys high. It was gnarly but we had such a good time.”

Robert then reflects on Escape The Fate’s career.

“The longevity as we’re going into our eleventh year and it’s really awesome that I can still do this and can still live my dream. I don’t have to work another job and my bills are paid. We make albums that we’re proud of, that really connect with people, we’ve been doing it as long as we have and gone through things we’ve gone through.”

“Most others would’ve quit a while ago but, for me, that’s the legacy of Escape The Fate,” he adds.

Escape The Fate will, at worst, have started work on a new album by late next year.

“It’s hard to say for sure,” Robert says. “But at some point next year we will be definitely be working on a new album. Depends on how the next couple of months go as we could end up touring again if we get the right tour”.

Escape The Fate’s 2015 album, Hate Me, was recorded without having a bass player in the studio. Instead, lead guitarist Kevin ‘Thrasher’ Gruft doubled up and performed all the bass parts on the record due to the departure of Max Green.

“It was much easier quite frankly,” Robert announces. “I think one thing we learnt was that the less cooks in the kitchen the easier it is to make a meal. There was a stint where TJ played bass live with us for a while as he was no stranger to it.”

“We knew what we wanted the bass to be and someone was there to record it. So it wasn’t a challenge at all, in fact it was a little easier.”

The band’s live bassist is now Max Georgiev.

“He’s great, man, he’s super talented,” Robert enthuses. “Max is a virtuoso on guitar and very, very dependable. The man is dedicated to the dream and he’s bought a new energy to us.”

“Fans ask us sometimes if we’ll make Max an official member. And, right now, it’s working. But having another entity there making decisions, whether they are business or creative ones, just adds more problems to deal with at the moment.”

“If it ain’t broke, don’t fix it,” the drummer concludes.”

Escape the Fate Australian Tour Dates

Monday, October 3: The Triffid

Wednesday, October 5: Cambridge Hotel

Thursday, October 6: Manning Bar

Friday, October 7: Prince Bandroom

Saturday, October 8: Fowlers Live

Sunday, October 9: Amplifier Bar

Tickets at: www.tickets.destroyallines.com

Also appearing in B Side Magazine (29th September 2016): http://bsidemagazine.com.au/

Text Copyright Jakam Kourasanis 2016.

An unknown treasure in Australian rock music right now is Wild Violet’s 2016 self titled debut release. Featuring the talents of singer-guitarist Angelica Zahra, bassist Jacinta Jaye and drummer Niyoosha Roberts.

The EP starts off with ‘Death by Love’ a fast rocker, inspired partly by Judas Priest and Motorhead, with elements of early AC/DC, and a slight element of Joan Jett, but with female vocals. A catchy chorus really helps the song out and flow. A fan favourite for sure.

Prima Donna follows, and is one of my favorites. Great lyrics and an excellent middle riff are highlights. This song has a slight pop-rock feel and lyrics that follow the life of a true rock diva — “Watch me appeal to the masses, tinted windows, backstage passes, I’m a prima donna, while youre still kissing asses” are just some of the excellent lines you can get from this song. The middle riff is reminiscent to KISS — Comin Home (Hotter than Hell — 1974) riff after the chorus.

Daydreamer is a Black Sabbath inspired slow rock tune, which really picks up for the chorus, then drops back down again. This song really does seem to have an aparent Black Sabbath influence, except unlike a lot of Black Sabbath songs this one has a chorus, and a bloody good one at that.

P.L.P is a rocker similar to Death by Love, and much like Prima Donna, this song has very good lyrics.

What is good about Wild Violet putting out an EP is that none of the songs are forgettable and there is no filler. An album is eagerly awaited (especially by this author) but these things can not be rushed and for those like me who havent seen the band live, an EP will tide us over for a while.

This EP is for fans of 70s hard rock, as well as bands like Danzig, Ghost, but with female vocals. Angelica’s vocals really are nice and crisp and her guitar work is comparable to the greats, Jacinta’s bass thunders through the whole release and Niyoosha’s drumming is so solid, it could break a wall. I seriously would recommend this EP to anyone, who wants to see what talents Australia is really hiding.

Text copyright Jakam Kourasanis 2016.

I first saw Tragic Earth live at Loud Fest III at the Bridgeway Hotel (Adelaide) in 2016. I was impressed by the band, and that same day the released their debut album. They have built an underground following and are slowly climbing to the top.

Tragic Earth play a unique style of rock, and have found a way to make old style rock sound new and fresh. The album shifts sub-genres quickly in some parts, but it still retains the overall feel of being a hard rock album.

Hatred & Tolerance has thirteen tracks, which is pretty long for an album these days, but considering the band have already released material already, it just gives fans more too listen too.

There seems to be no filler on the album and the acoustic solo track played by guitarist Gavin Zacher shows a Randy Rhoads influence and it adds a split break from the first half to second. Overflow is an acoustic track as well, with emotional playing and vocals.

Performance on the album must be praised, and if you see the band live you will see a direct Bon Scott (AC/DC) influence on vocalist Dima Shafro. The band are excellent live, and catch them on their current tour.

Standout Tracks: Bittersweet Reality, Necessary Commentary.

Text copyright Jakam Kourasanis 2016.

1. Introduce yourself.

My name is Billy Sheehan

2. What you got into music and playing bass?

Seeing the Beatles on the Ed Sullivan show in the ’60’s

3. Your first professional band was Talas, who performed a variety of cover and original material. Can you explain how this band was formed and what led to the demise of Talas.

We were local musicians and tried to become successful. We got about halfway there several times. Finally I left in the summer of ’85 to Join David Lee Roth.

4. What did the name Talas mean and where did it come from?

It was a horses name I believe.

5. In 1980, Talas opened thirty shows for Van Halen, who at that time were fronted by David Lee Roth. Do you think that doing that tour with Van Halen left an impression on David Lee Roth, leading up to you joining his solo band?

There is no question. That’s how we met.

6. What was it like working with David? Funniest stories?

Would require hours of typing — -sorry. I never write those stories down — -they are told as performance art.

7. What was the process of you recording those albums with David? (Eat ’Em and Smile/Skyscraper)

We did most of Eat ’em & Smile live in studio. Skyscraper was done piece by piece.

8. What led to your split with David Lee Roth?

Did not like the Skyscraper recording process and results.

9. You also played with Trasher, with Anthrax guitarist Dan Spitz. How did that all come together/fall apart?

That was so long ago and such an insignificant record — -I do not remember.

10. Arguably, one of your most famous ventures was the formation of Mr. Big. How were Mr. Big formed?

I found the 3 other members and started the band myself.

11. Mr. Big’s biggest hit was an acoustic ballad. Did you ever feel that you wanted one of the heavier songs to be the one you would be remembered for?

It’s okay — I love ‘To Be With You’.

12. What was it like when Paul Gilbert left Mr. Big to reform Racer X, and you had Richie Kotzen come into the band? How did the fans feel?

He did not leave to reform Racer X. Some fans liked it, some did not.

13. A one off reunion with Mr. Big occurred in 2008 at the House of Blues. Without that happening, could you have ever seen Mr. Big reuniting at some other point in time?

It wasn’t a reunion of the whole band. Though it did likely lead to doing the reunion in 2009.

14. These days, you’re playing with the awesome band The Winery Dogs. Will you guys ever tour Australia (Adelaide in particular)?

We do not choose where we play. No band does. Australia must book us, and so far they have not.

15. Do you have any memories from Australian tours?

Many. I’ve always enjoyed playing there immensely.

16. How did you get to be one of the world’s leading bassists?

50 years of work, and there is still much more to learn. I work at it every day.

17. You always get ranked very high on ‘best bassist’ lists. How does it feel?

I’m honoured and supremely grateful. I work hard to try to live up to it.

18. For you to get so good, you must have practised a lot. What was your practice schedule like when you were younger?

There was no schedule -I just went at it every free moment I had. Mostly, I got in a band very early on and performed live.

19. What inspired some of your more creative and innovative techniques?

Listening to instruments other than the bass.Piano, cello, full orchestra. Vocals too. I tried to do as much as I could on the bass from all kinds of musical points of view.

20. What is the story/reason behind the ‘cut out’s on your fret board?

Made it a little easier to bend a high note up higher.

21. You seem to approach a bass guitar much differently than the majority of bass players. Why and how did that happen?

I just had a different approach, I guess.

22. You are now an endorser for Alltitute bass guitars. Why did you go with a smaller brand, instead of a big brand like Fender or Ibanez?

Yamaha is bigger than Fender and Ibanez combined.

23. You have performed many times with Steve Vai and you are both regarded as some of the best musicians at your respective instruments. What is it like working with Steve? I’d imagine you two blow each other away with your skill levels.

Steve is like a brother to me and we enjoy each others playing very much.

24. Out of all the projects you have done, what would be your most favourite?

The Winery Dogs is my current favourite.

25. What advice would you have for young musicians trying to get good?

Get in a band and perform songs in front of an audience. Very important.

Text Copyright 2016 Jakam Kourasanis. Photographs belong to their respective owners.

It’s not often you come across a modern sounding glam metal album, with heavy riffage, screeching vocals and up tempo songs, but when you do, it probably has Roxxi Catalano’s name on it.

It all started with Gold Coast kings De La Cruz. Releasing an album worldwide on Frontiers Records titled Street Level, which was Roxxi’s first taste of success. Coming back four years later Roxxi offers us an amazing album, which met the demands of all who were interested.

Roxxi’s vocals are delivered with a screech in parts, and with a very bluesy rock sort of tone in others, which is one of the better things about the album.

Roxxi enlisted an assortment of guitarists to play lead guitar including former De La Cruz bandmate Stevie Strange, which adds different shred style of playing to the album. Also shredding solos are Voya from Vanity Riots who did over half the lead work on the album.

Overall this album was made for diehard glam lovers, and also newcomers to the scene who want to check out some of Australia’s talent.

9/10

Text copyright Jakam Kourasanis.