COMBICHRIST To Release Fifth Album on September 28th
July 28th, 2010 Filed under: News/Calendar/Industry by adminABOVE : ABORT TV’S EXCLUSIVE EPISODE W/ COMBICHRIST IN VANCOUVER
Metropolis recording artists COMBICHRIST are gearing up for the release of MAKING MONSTERS on September 28, 2010. Recorded in Totprod Studios in Atlanta, GA and produced by Andy LaPlegua (also the mastermind behind the band), their fifth studio album takes the band beyond the aggressive techno and electro rhythms and propels them into much more primal and raw territory. “It’s beyond my personal demons, and extremely honest,” says LaPlegua.
Kicking off with the ominous and foreboding “Declamation”, Making Monsters is a journey deep within the reaches of the mind of LaPlegua, who spent the last year, deep in introspection, as he toured four full months in Europe with Rammstein in front of hundreds of thousands of people. Diving deep into the darkest corners of his mind, he’s created an album devoid of pretension and conscious thought. Fueled by expressions of lust, anger, pain and hate, Making Monsters is the sound of LaPlegua ripping out his heart and plugging its still-beating deathkicks into his music, rife with hook-heavy choruses, speaker-crushing beats, and dark aggressive vocals. The first single “Never Surrender” is bound to rule the dance floors along with other floor stompers “They” and “Throat Full of Glass”. The baretoothed aggression of “Follow the Trail of Blood” (featuring Brendan Schiepatti of Bleeding Through) will immediately become a crowd favorite while the brooding “Through These Eyes of Pain” takes a much subtler approach and shows us another side of Combichrist, that of the man inside the monster.
MAKING MONSTERS
Track Listing:
1. Declamation
2. Follow The Trail Of Blood
3. Never Surrender
4. Throat Full of Glass
5. Forgotten
6. Fuck Machine
7. Just Like Me
8. Slave To Machine
9. Through These Eyes Of Pain
10. Monster: Murder: Kill
11. They
12. Reclamation
Starting off in the dark metal and hardcore soul of Norway, Andy LaPlegua led a few seminal bands in the Norwegian underground (including the influential Icon of Coil) before fusing electronics and dance beats and forming Combichrist in 2003 and releasing their incredibly well-respected debut The Joy of Gunz (2003). The two following albums – Everybody Hates You and What The F*&$ Is Wrong With You People? – witnessed the band’s evolution and were described as “a journey through hell and high water, through the eyes of a serial killer, sex, violence and plenty of Jack Daniels on ice.”
Their acclaimed last album Today We Are All Demons witnessed Combichrist expanding their audience and infiltrating the mainstream. Their first single from that album “Sent to Destroy” and its EP debuted on Billboard’s Top Singles Chart at #8 and the Dance Chart at #5 and remained there for over ten weeks. “Never Surrender,” the new single from Making Monsters, will undoubtedly have a similar breakthrough story.
Making Monsters will be released via Metropolis Records physically on September 28, 2010 (digital release is slated for August 31, 2010). A national tour will be announced shortly.
www.myspace.com/combichrist
www.combichrist.com
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
WTF?: Record Breaking Beer Shipped in Woodland Creatures. Bambi is Pissed!
July 26th, 2010 Filed under: News/Calendar/Industry, WTF? by admin
(LONDON – AFP)
The strongest and most expensive beer ever created sold out within hours Friday, a Scottish brewery said, as they courted controversy by packaging the bottles inside the bodies of stuffed animals.
BrewDog, the self-described maverick brewery, presented the beer — which contains a record 55 percent alcohol — inside the bodies of dead squirrels and stoats.
Animal rights activists rushed to condemn the stunt.
“It’s pointless and it’s very negative to use dead animals when we should be celebrating live animals,” Advocates for Animals policy director Libby Anderson told BBC Scotland.
“This seems to be a perverse idea.”
BrewDog said the limited edition Belgian ale — made with juniper berries and dubbed “The End of History” — was also the costliest beer ever sold.
The squirrel bottles cost 700 pounds (1,000 dollars, 840 euros) each and the seven stoat bottles went for 500 pounds a pop.
All sold out within four hours of going on sale, BrewDog managing director James Watt told AFP.
Watt said the controversial drink was the last in a line of experimental brews, explaining: “For the final installment in the strong beer series, we wanted to create something epic, something monumental.”
He said there were no plans to come up with a beer to beat this record, insisting: “We’re quite happy at 55 percent.”
As for the taste, Watt described “The End of History” as a “complex” beer with a multitude of flavours including honey, mint and cinnamon.
He recommended sipping the drink “much like you would a malt whiskey”, served up in a spirit glass rather than a pint glass.
(Pass the squirrel opener dude! – Ed)
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
ABORT Is Proud To Sponsor: SANCTUARY SATURDAYS – CLUB 23 W., VANCOUVER B.C.
July 15th, 2010 Filed under: ABORT Presents... by admin
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
Book Review: American Trademarks: A Compendium
July 15th, 2010 Filed under: Reviews - Books by admin
Book Review: American Trademarks: A Compendium
Edited By: Eric Baker & Tyler Blik
Chronicle Books
At first glance a book about trademarks seems… unnecessary. After all, they’re just the symbolic manifestation of the corporate class’ control over our lives, another link in the chains of wage-slavery, right? Maybe, if you want to get all dramatic and overly indignant. So what are they, then? Are they meaningless? Superfluous? Are they even worth the effort of analysis? As you read American Trademarks: A Compendium it becomes increasingly clear page after page that this book is not going to answer any of these questions. American Trademarks: A Compendium is pretty much exactly what its title says: a compendium (compendium: a short, complete summary; a list or collection of various items) of trademarks from that world-wariest of centuries: the 20th. So aside from a brief introduction and a two-page “from the editors” bit, there really isn’t a whole lot in the book that isn’t an old trademark, except for some graphic designer talking about how much he likes all the old trademarks from time to time.
So while there isn’t a whole lot of exposition on the parts of the editors in terms of information about the history of the trademarks in the book or trademarks in general once you really get into it, get down and dirty and really start perusing the trademarks themselves you quickly realize two things: 1) this shit is pretty cool and 2) we’re in the future, dude. It really is crazy how far we’ve come when you think about it, and reading this book certainly makes you think about it. Take for example the trademark for “Genuine Peruvian Guano” – 1925, Nitrate Agencies Co. and compare it to a modern trademark and not only is the style completely different but so is the purpose of the mark. In 1925 Nitrate Agencies Co. wasn’t trying to sell a lifestyle, they weren’t pushing “brand synergy”, they were just saying “our Peruvian guano is genuine, dog.”
Even the way in which the trademark would have been made is completely alien to the way it would be done today, using an array of archaic typesetting machinery and probably some kind of frantic chaplin-esque character covered in ink instead of crazy super-computers and sweet lasers. American Trademarks: A Compendium is a port-hole in time, a way too look into the past and catch the slightest glimpse of what it was like to live without global warming and pizza pops and maybe understand what that means. Plus it’s a pretty cool coffee-table book and $29.95 US is a pretty good price to pay for that kind of thing.
By A.W. Reid
WANT MORE BOOK REVIEWS? CLICK HERE
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
Live Review: The Coup w/ Guests, July 9, 2010, Vancouver, B.C.
July 13th, 2010 Filed under: Reviews - Live by admin
(Photo – Jamie Sands)
Live Review - The Coup w/ Guests
Friday, July 9, 2010
The Biltmore, Vancouver, B.C.
In the early nineties a movement began in to ally the forces of Hip Hop against the forces of evil. No longer would MCs use their words to perpetuate centralized tyranny, consumer greed and sexism. No longer would hip hop beatmasters put out funkless un-musical junk. The vanguard of this movement came in the form of the Oakland based Hip Hop crew The Coup.
Boots Riley and Pam the Funktress form the core of the current Coup, and they’ve been relentlessly pumping out funky beats and clever political rhymes for well over a decade. Anybody who knows anything about conscious Hip Hop knows The Coup. Pam the Funktress lays out the beats and Boots Riley provides the rhymes. Other members have come and gone (one of whom is dead), but the core of the movement remains strong.
Some highlights of The Coup’s reign of terror include coming up with an album cover showing the World Trade Center exploding and Boots Riley pressing a button on a guitar tuner as a detonator—for an album that was due out September 2001. Their label pulled the cover in the resultant outrage. Over the years they managed to thoroughly offend right wing America; one columnist said Riley “belongs in a capitalism-free cave in Tora Bora, spewing his “poetry” around an al Qaeda campfire” (Michelle Malkin)
The Coup ally themselves with Southern black power quasi-Marxist Hip Hop artists Dead Prez, and Riley has also joined forces with Rage Against the Machine guitarist Tom Morello to create the offshoot band Street Sweeper Social Club, who toured with Nine Inch Nails in 2009. Their mission is to spread consciousness and defiance through music until young minds have been freed and the revolution is complete.
So far The Coup’s musical reign of musical terror has penetrated every corner of the United States and has begun gaining followers internationally. Just last week they managed to cross the border into Canada. The first thing they did was take the Biltmore Cabaret by force with a gang of like-minded rap-fiends to propagandize their anti-corporate sounds. Abort Magazine happened to be in attendance.
The Coup took the stage around 10:30 and their rabid fans took to the dance floor. While the Coup’s albums feature Pam the Funktress’ infectious beats, The Coup now tours as a live band. That’s refreshing—a Hip Hop show with real live Funk. Boots dressed up like a real G for the even, done up in a sharp tan suit with a perfectly formed oval fro, and he was supported by a strong trio—guitar, bass and drums, with Pam jumping in to support on the odd track just adding hype and singing along.
They had the crowd jumping in no time, belting out solid numbers from their early albums Kill the Landlord and Genocide and Juice. The Biltmore faithful grooved and bounced, hands in the air, singing along from time to time. It was a drunken, sweaty and joyous crowd, lubed up by the Biltmore’s draft beer and dry cider. They loved every minute of it, by the end of the night fists were in the air, singing along to such gems as “Five Million Ways to Kill a CEO” and “20,000 Gun Salute”. The highlight of the night seemed to be the single from their new album Pick a Bigger Weapon “Laugh/Love/Fuck”. It goes “I’m here to laugh, love, fuck and drink liquor / and help the revolution come quicker”, and everyone sang it out loud, because it was that kind of night.
This night showed in no uncertain terms that The Coup is still on the vanguard after almost two decades in the Hip Hop game. Boots’ ingenious lyrics remain clever and catchy and their anti-capitalist message actually seems more and more urgent and important over time. In a genre where musicianship itself isn’t usually high on the list, The Coup is playing with a funky band rather than rapping over prerecorded beats, and the musical content on their records would make even the most conservative geezer bob his head. That’s a sure sign of the alchemical power of music—to make music about serious, dire situations.
By The Rambler
WANT MORE LIVE REVIEWS? CLICK HERE
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
Film Review: Predators – Directed by Nimród Antal
July 9th, 2010 Filed under: Reviews - Film by admin
Movie Review – Predators
Directed By Nimród Antal
20th Century Fox
In lieu of originality; reboots, remakes, sequels, prequels and revamps are what Hollywood thrive on these days. Take an established Hollywood franchise (healthy or not), and some schmuck will attempt one of the aforementioned treatments. Chances are he or she will screw it up totally and walk away with the undying love and admiration of the lost masses spoon fed on limp, predictable modern American movies. Thank FUCK (in large bold letters strewn across your local cinema marquee) for Predators, director Nimród Antal’s rebooted, revamped and remarkable redirection of the Predator franchise
Eight strangers dropped into an unfamiliar jungle terrain and forced to work together for reasons of survival may not seem like the most original of plot ideas, but as the facts of their predicament are slowly revealed to both the characters and audience alike, it becomes clear this isn’t your usual Predator fare.
Mercenary soldier Royce (Adrian Brody) leads the rag tag group of strangers on the quest to find out where they are and why they are there. The ‘where’ is shown (but never fully explained), while the ‘why’ becomes evident as members of the party are systematically bumped off by forces initially unknown.
Joining Royce are silent Yakuza assassin Hanzo (Louis Ozawa Changchien), Mexican drug cartel enforcer Chuchillo (Danny Trejo), IDF sniper Isabelle (Alice Braga), RUF officer Mombasa (Mahershalalhashbaz Ali), American Death Row inmate Stans (Walton Goggins) and American doctor Edwin (Topher Grace). They are all cold-blooded killers forced to work together while each maintains a devious sub-plot of their own. Laurence Fishburne’s lengthy “ham at the bar mitzvah” cameo as Noland, a U.S. Air Cavalry Soldier, almost upsets the entire thing, but thankfully his appearance is short lived… pun intended.
Exceptionally well directed, the camera work and slow overhead panning shots used here work brilliantly, while the simple yet effective plot gives Predators an eerie, suspenseful atmosphere. Original, inventive and highly entertaining, director Nimród Antal, writers Alex Litvak & Michael Finch and cinematographer Gyula Pados (as well as a lack of fake looking CGI) are truly the stars of this film. Well done all around!
By Grimm “I’d Probably Die First” Culhane
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
ABORT is Proud To Sponsor: NINJASPY – LIVE IN JAPAN! July 15-21
July 9th, 2010 Filed under: ABORT Presents..., News/Calendar/Industry, Uncategorized by admin
NINJASPY INVADES JAPAN THIS SUMMER!
ON TOUR SUPPORTING DEATH BY STEREO AND ZESTONE LABELMATES LOST JULY 15-21, 2010.
JULY 10 – VANCOUVER- KICK-OFF PARTY @ FUNKY WINKERBEANS
JULY 15 – KOBE – KING’S CROSS
JULY 16 – OSAKA – DROP
JULY 18 – NAGOYA – R.A.D.
JULY 19 – TOKYO – RAG
JULY 20 – TOKYO – RAG
JULY 21 – TOKYO – RAG
NINJASPY’S DEBUT ALBUM “PI NATURE” AVAILABLE IN STORES ACROSS JAPAN FROM ZESTONE RECORDS. WWW.ZESTONE.JP
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
CD Review: Lamb of God – Hourglass
July 9th, 2010 Filed under: Reviews - Music by admin
CD Review – Lamb of God
Hourglass
Epic Records
Before getting into the gritty, pre-Lamb of God, Burn the Priest material, Vol. III kicks off with 5 bonus tracks- “We Die Alone,” “Shoulder of Your God” and “Condemn the Hive” from their most recent full-length Wrath (2009), “Another Nail for Your Coffin” from Ashes of the Wake (2004) and “Nippon” from New American Gospel (2000). Starting off with these 5 is a good lead-in for those primarily interested in the Lamb of God era especially considering the strength of these tracks and their potential to have been included in the official releases in the first place.
Following the bonus tracks are demo cuts of “Now You’ve Got Something To Die For”, “Hourglass”, “More Time to Kill”, “Dead Seeds” and “In Your Words.” Here is where things get interesting. For a band known for releasing albums with flawless production it’s quite a shock to hear the real, bare bones rehearsal versions. In large part it feels like a privilege to get a peek at the before and after, to witness what was scrapped and/or altered to make the final versions. What’s interesting also is the similarity of the tracks to the final versions (besides this version of “Hourglass” which is pretty sketchy vocal-wise); proving that LOG don’t rely on production to make them sound good, what they bring to the table stands on its own right.
The last 8 tracks of Vol. III first appeared on Burn the Priest’s tour tape and 7” respectively. Like the rehearsal tracks, these have a raw feel and though differ in style from the later LOG material, reveal the foundation on which the “Pure American Metal” sound would later be built. Certainly cherished by die-hard fans, the inclusion of this lesser-known material with the other, more recent but equally rare tracks is what gives Vol. III- The Vault its charm and what makes it a worthy addition to any metal album collection.
By Alxs Ness
WANT MORE CD REVIEWS? CLICK HERE
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
The Biltmore and ABORT Magazine Present: THE COUP with guests Run with the Heard and Nina Mendoza, Friday, July 9th, 2010, Vancouver, B.C.
July 1st, 2010 Filed under: ABORT Presents... by admin
Friday July 09
The Biltmore and ABORT Magazine present:
THE COUP
with guests Run with the Heard and Nina Mendoza
The Coup are known as one of the most overtly political bands in rap history. Now, after a 20-year career that has defined the word “uncompromising”, the Coup return armed with BIG funk and tall tales.
http://www.myspace.com/thecoupmusic
Check out some of the classic songs/videos at the bottom of the page. ie. “Fat Cats and Bigga Fish”, or “Me and Jesus The Pimp”.
Run With the Heard: Local 7-piece circus nuts manipulate production and vocals with the involvement of a Guitar Hero Wii Controller!
http://www.myspace.com/runwiththeheard
Niña Mendoza: http://ninamendoza.com/
Doors at 8:00pm, Show at 9:30pm
Tickets $19.00 in advance at Zulu, Red Cat, Scratch and Beat Street
http://www.ticketweb.ca/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=1624435
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
WTF? – Playboy Magazine Tests 3-D Centrefold. Tissue Prices Skyrocket!
June 9th, 2010 Filed under: News/Calendar/Industry, WTF? by admin
(No, you’re not going blind, it’s in 3-D! That doesn’t explain your hairy palms though – Ed)
(Source – CBC News)
Playboy readers who can only imagine what it would look like if a centrefold jumped right off the page are getting new specs to help them see into Hef’s world.
The magazine’s June edition comes equipped with 3-D glasses. Now the toy that has kids dodging dragons, meatballs and tall blue aliens at the movies will help adults focus on what is, at first glance, a very blurry Playmate of the Year.
“What would people most like to see in 3-D?” asked Playboy founder Hugh Hefner. “Probably a naked lady.”
Hefner makes no secret of hoping to capitalize on the popularity of 3-D movies such as Avatar and How to Train Your Dragon, even as he makes no secret of not quite getting what all the fuss is about.
“I’m not a huge enthusiast of 3-D,” he said in a telephone interview. “I leave real life to go to the movies and 2-D is fine with me.”
If the thought of grown men sitting back in their recliners with a pair of 3-D glasses doesn’t quite say Playboy, it should be noted that a few months ago, the magazine put Marge Simpson — yes, the blue-haired animated mother of Bart — on the cover and in a two-page centrefold.
“In today’s print environment, you have to create newsstand events,” said Jimmy Jellinek, the editorial director of the Chicago-based magazine. “Marge Simpson was one of those.”
Playboy certainly must do something to get more people, especially younger people, to buy a magazine that has seen circulation plummet from 3.5 million in 2006 to 1.5 million today.
Jellinek said he hopes the issue featuring centrefold Hope Dworaczyk in 3-D also reminds people that for all the infatuation with the internet, there is nothing quite like having a magazine in your hands.
“People want things that last and have meaning,” he said.
The thought hadn’t occurred to Hefner. But, now that you mention it: “This particular picture is one example of how books and magazines are different [than computer images],” he said. “You can hold it in your hands, save them, and as Dad used to, put them under the mattress.”
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
TONIGHT! June 6th, ABORT is Proud To Sponsor: Powerman 5000 w/ Ninjaspy and guests, The Rickshaw, Vancouver, B.C.
June 6th, 2010 Filed under: ABORT Presents..., News/Calendar/Industry by admin
The Invisible Orange proudly presents
with guests:
June 6, 2010 at The Rickshaw Theatre
254 East Hastings, Vancouver, BC
Tickets $21 Advance, $24 Door
tix Feb 13th @ http://www.ticketweb.ca and SCRAPE Records
Doors 7PM All Ages/Licensed
Sponsored by ABORT Magazine
Contact: events@theinvisibleorange.com
778-999-4755
Website:http://theinvisibleorange.com
Myspace:http://www.myspace.com/theinvisibleorangecanada
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
ABORT is Proud To Sponsor: Bloody Betty’s PHOBIAS Show – July 3rd, 2010, The Rickshaw, Vancouver, BC
June 4th, 2010 Filed under: ABORT Presents..., News/Calendar/Industry by admin
“Your worst nightmare is crawling out of your head to get you JULY 3RD at the Rickshaw Theatre! Love You Dead Entertainment is sickeningly thrilled to bring you an evening of disgusting shock performances with Bloody Betty’s Phobias show. Delve into a night of frightening performance art that will bring you face – to – face with your worst fears! Headed by the godmother of gorelesque, Bloody Betty and her Deadly Sins, with additional displays of blood, sex, and depravity by Little Miss Risk, Rosie Delight, Melody Mangler, April O’Peele, Candy Curves, Violette Femme, Jenny Magenta and the latest fresh meat from Bloody Betty’s Deadly Sins auditions. There will be a special musical performance by seductive songstress Nikita and a live fortune telling booth with intuitive readings by Marji Graham.
Be prepared for stomach wrenching contests to test your intestinal fortitude including prizes for *BEST COSTUME* coming from Trigger Happy Tattoos, East Vanity Parlor, West Coast Piercings and Marji Graham Intuitive Readings.
DRESS UP!!! Encouraged costumes include your own worst fear, fetish wear, formal wear, or horror couture.
Bloody Betty’s Phobias Show
Saturday July 3rd
The Rickshaw Theatre
Tickets $15 available at the door
Doors @ 8PM Show @ 9PM
For more info email therealbloodybetty@gmail.com
Are you brave enough to witness the deepest horrors in your mind?”
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
Heavy Metal’s “The Big Four: Metallica, Slayer, Megadeth, Anthrax” on Cineplex Entertainment’s Screens June 22nd
June 2nd, 2010 Filed under: News/Calendar/Industry by admin
“The Big Four: Metallica, Slayer, Megadeth, Anthrax” are bringing their historic European tour to the global stage with a concert shown via satellite in High-Definition (HD) in Cineplex Entertainment theatres across the country. These four legendary acts broke out of the underground thrash movement in the 1980’s to dominate the metal world, selling millions of records and packing arenas across the globe. Despite huge demand, these musical giants have never shared the same stage until now. The legendary concert from the tour’s stop at the Sonisphere Festival in Sofia, Bulgaria will air on Tuesday, June 22nd at more than 65 Cineplex theatres in Canada.
Advance tickets are available beginning Friday, May 28th online at www.cineplex.com/events as well as at participating theatre box offices. General admission is $18.00.
In December 2009, the bands announced that they would be joining forces to take part in the traveling Sonisphere Festival for only seven shows across Europe. Now, this one-time only event from the Sofia show makes it possible for fans far and wide to participate in what otherwise is a very limited run of dates. The HD concert presentation will memorialize the event and the impact will be amplified globally with the cinema screenings, making the dreams of fans around the world over become a reality.
Lars Ulrich of Metallica says of this historic announcement, “Who would have thought that more than 25 years after its inception, thrash metal’s Big Four would not only still be around, be more popular than ever, playing shows together at stadiums all over Europe, and on top of that, coming to a movie theatre near you in High Definition (for better or worse??!!). Bring it on!”
Anthrax guitarist Scott Ian says “Damn, as if this Big Four tour wasn’t exciting enough now we get to be on the big screen worldwide! Metal at the movies, two big horns up! It is unbelievably gratifying that this means so much to the metal community around the globe. Get your tix, grab some popcorn and get ready to bang your head!”
Declares Slayer’s Kerry King, “I can’t believe someone didn’t make this happen 15 years ago! The fans finally get what they want. I think it’s awesome!”
Says Megadeth’s Dave Mustaine, “The magnitude of this event hasn’t really sunk in yet, and I am thrilled to know that people around the planet will be able to walk into a movie theatre and experience the greatest line up of Heavy Metal in the history of the world!”
“Cineplex Entertainment is pleased to bring this historic event to our guests across the country,” said Pat Marshall, Vice President, Communications and Investor Relations, Cineplex Entertainment. “For one night only, fans can gather together at Cineplex theatres to experience a rock concert louder and harder than ever before, making you feel like you are head-banging with the crowd in Sofia, Bulgaria.”
Cineplex Entertainment, in association with BY Experience, will present “The Big Four: Metallica, Slayer, Megadeth, Anthrax” on Tuesday, June 22nd at 7 pm EST/PST/CST and 8 pm MST
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
Live Review: Massive Attack w/Martina Topley-Bird, Saturday, May 29th, Vancouver, BC
June 2nd, 2010 Filed under: Reviews - Live by admin
(Photo – Jamie Sands)
Live Review – Massive Attack w/Martina Topley-Bird
Thursday, May 29, 2010
Malkin Bowl, Vancouver BC
At first inspection, it looked like it would be a wet and lonely flashback to Bristol, England in 1994, as punctual concert-goers trickled into the outdoor venue known as the Malkin Bowl to see Massive Attack and Martina Topley-Bird under a tenacious rain mist. Many could be heard reminiscing of Radiohead’s most recent visit to Thunderbird Stadium, where hipster’s were first stripped of their umbrellas by security, annihilated by a rainstorm, and then sold 50 cent poncho’s for 8 bucks.
Regardless: everyone was in good spirits, as the line-up was literally a wet dream for fans of the genre begrudgingly known to the artists involved as Trip-hop. Had a fantasy trip-hop dream team been assembled, this would have pretty much been the starting line-up, perhaps missing Tricky (ex-member of Massive Attack/Wild Bunch), and Geoff Barrows (main member of Portishead/ tape-op early on for Massive Attack).
First up was ex-Tricky bandmate/mother-to-his-child, Martina Topley-Bird, who looked a little like a member of Goldfrapp’s current ensemble, wearing a large Pam Grier-esque blonding afro, and clownish garb. She made a remark about how if she “gets electrocuted, you’ll know it’s for you Vancouver!’, and then sat down with a vintage keys set up, a table of percussion instruments, and a Boss Loop pedal, which she actually described to the crowd the ins and outs of how it operates.
She wooed the crowd by laying down a honey-drenched vocal loop, then a beat with a tambourine or just straight up beat on a wooden box, then performed jaw-dropping soul songs over top. Her talent was obvious, and her charisma irresistible. Her 6 song set (which included several tracks off her Danger Mouse produced record, The Blue God, a couple songs off her as of yet unreleased Damon Alburn album, and one Maxinquaye track, Overcome) certainly raised the bar for the headliners.
With one of the shortest turn overs of any large concert, Massive Attack came out right on schedule (during daylight!) slamming into United Snakes, with 8 of the bands current 10 members on stage finding the synchronized groove. One couldn’t help but feel a bit of awe, looking at legends on stage, digging into their craft the way you’d assume they have for going on 22 years now. It was surreal to see 3-D and Daddy G standing at their mic stands, bopping away at the beat, you know, just like they do on YouTube.
The band was then joined by Topley-Bird and transitioned smoothly and dramatically into the moody ‘Babel’ off of the newly released Heligoland. The audience was happy to witness a set just as full of Mezzanine jams as tracks off the new record. Seeing what would have been incredible visuals had the sun not been shining kind of took the mood away from the first couple of numbers, extinguishing the smoke machines’ effect, dissolving the laser show, but come time for the Martina Topley-Bird fronted Tear Drop,the sun went down, and the theatrical elements became more evident and powerful. It really was the songs off of the break-through record, Mezzanine that really stood out, such as Angel, Risingson and the best moment of the night, Mezzanine, with it’s pulsing, never-ending bass and buzz saw guitars, it’s synths reminiscent of the bands cover of The Hunter Gets Captured By The Game, from 1995′s Batman Forever soundtrack.
The coolest thing about the night was seeing such incredible talents pass the baton all night, such as the famous Horace Andy appear onstage to captivate with ‘Girl, I Love You’ into ‘Blue Lines’ favorite ‘Unfinished Sympathy’ sung by Deborah Miller.
The Night’s Setlist:
United Snakes
Babel
Risingson
Girl, I Love You
Psyche
Future Proof
Invade Me
Teardrop
Mezzanine
Angel
Safe From Harm
Inertia Creeps
Unfinished Sympathy
massiveattack.com
By Kevvy Mental
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
CD Review: Nevermore – The Obsidian Conspiracy
June 2nd, 2010 Filed under: Reviews - Music by admin
CD Review – Nevermore
The Obsidian Conspiracy
Century Media
The Obsidian Conspiracy is the seventh full-length release for Seattle-based four-piece Nevermore. This release is a departure from the course they set out with their groundbreaking This Godless Endeavour. While the 2005 hit release was a lesson in technical ability, showcasing the superior guitar skills of Jeff Loomis and Steve Smyth, The Obsidian Conspiracy sees Loomis focus primarily on riffs that support what Warrel Dane is doing vocally. That’s not to say that there’s a lack of impressive guitar work on this one- it is Nevermore after all- but the guitars are less flashy then previous releases.
What’s interesting about this new approach to their songwriting is how it’s allowed Loomis’ riff-writing skills to come to the fore along with Dane’s vocals. It’s no secret that Loomis is one of the best shredders in the world; the Nevermore discography and his solo album Zero Order Phase hold testament to that. This is however, the first release that highlights his riff-writing abilities as well. That being said, because this is such a different approach from their previous efforts, there is sure to be a mixed reception.
Longtime Nevermore fans will most likely appreciate the band for accomplishing what they had set out to do with the Obsidian Conspiracy. They had an intention when creating these tracks and the end result reflects that. Likewise fans of Warrel Dane’s vocal style will most likely approve of how he has been placed front and centre, not only by how the music has been written and arranged but also through the mix. On the other hand, those who have followed the band through the years with a primary interest in the guitar work may have a hard time accepting the change.
As with all Nevermore albums, this one takes a bit of time to fully appreciate. In the grand scheme of their discography The Obsidian Conspiracy should be seen as a continuation of their drive to push their sound beyond its own borders. They are a band that has always avoided creating identical records and this one is simply the next step in their evolution.
By Alxs Ness
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
Live Review: Public Enemy – May 27th 2010, Vancouver BC
June 2nd, 2010 Filed under: Reviews - Live by admin
(Photo – Scott Alexander)
Live Review – Public Enemy
Thursday, May 27th 2010
Commodore Ballroom, Vancouver BC
For those who missed their chance twenty years ago, or were nothing but a bloodshot twinkle in their daddy’s eye, the nearly full original lineup of the legendary Public Enemy were back in full effect to remind and re-educate Vancouver heads about why in their era, P.E. were the hardest, heaviest group around, and were the soundtrack to Ghetto blocks, University Campuses and Drugspots alike.
With BombSquad producer Keith Shocklee opening on the ones and twos with a selection of floor shaking dubstep riddims, the mood was immediately set for some chest rattling righteousness, and while the digitized beats and subsonic bass were impressive (if not all that unfamiliar to Vancouver crowds over-saturated with dubstep), they seemed to merely emphasize that modern electro sounds are in no way superior to the analog thunder of the Bombsquad.
With the iconic P.E. logo as a massive backdrop, Mistah Chuck, Flavor Flav, Shocklee, the Security of the 1st World, and a full band took the stage, launching immediately into a tumultuous rendition of “Fight The Power” that conjured all the intensity of the summer of ’89. Without pause, Flav took center stage to “911 Is a Joke”, with the new double entendre of post 911 politics echoing through the original meaning.
In his role as orator, Chuck D is unequaled in the Hip Hop world, and he gave free reign to his political ranting, first expressing love for Canada and it’s people while at the same time emphasizing our need to address the pressing issues of the environment, and first and foremost our indigenous peoples’ rights. He pointedly referred to the new immigration laws in Arizona as a lead in to “By the Time I Get To Arizona”, and laid into the record industry before “Bring Tha Noize”. Generally the set tended towards classic tracks from “Fear of a Black Planet”, now in it’s twenty year anniversary, and “It Takes a Nation of Millions To Hold Us Back”, and while some newer tracks from the last ten to twenty years could have been thrown in for good measure, it was clear they were giving the crowd what it knew and wanted, and giving it to them good, with a passion and energy belying their age.
With Chuck and Flav owning the stage and running back and forth like Axl Rose, Shocklee on the decks rocking a rudimentary yet awesomely cutting scratch technique, the band on point with pedal bass, in the pocket drums and the kind of screaming guitar solos P.E. always loved, plus the S1W’s pacing through their militant maneuvers, the entire effect was truly iconic. Like a revival rally for a political movement nearly lost and forgotten, the Public Enemy machine stamped their mark once more on the foreheads of a new generation, who had almost given up on Hip Hop’s possibility of revolutionary social change.
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
R.I.P. – Legendary Actor Dennis Hopper Dies at age 74
May 29th, 2010 Filed under: R.I.P. by admin
(Source – CBC.ca)
Actor Dennis Hopper, the Hollywood elder statesman who appeared in such classic movies as Easy Rider and Apocalypse Now, has died.
A Reuters report says the 74-year-old performer died Saturday at his home in Venice, Calif. He had been suffering from prostate cancer. Actor Dennis Hopper, honoured with a star on the Hollywood Walk of Fame, was also a major collector of art.
Hopper appeared extremely frail and bone-thin in recent months.
The celebrated actor, Oscar-nominated filmmaker and noted visual artist rose to fame in mid-century Hollywood as a co-star and friend to rebel icon James Dean.
For decades Hopper’s career was erratic due to his unpredictable and defiant behaviour, struggles with substance abuse and reputation as a hellion. However, he eventually settled down and earned a raft of kudos for both his film work as well as for his photos, paintings and sculptures.
His prolific movie credits ranged from early successes such as Rebel Without a Cause and Gunfight at the O.K. Corral to the 1960s classics Cool Hand Luke and Easy Rider (which Hopper starred in, directed and won wide acclaim for co-writing), to later hits like Apocalypse Now, Rumble Fish, Blue Velvet and Hoosiers.
Hopper was born May 17, 1936 in Dodge City, Kan. After the Second World War his family moved to Kansas City, Mo., where he took art classes at the Kansas City Art Institute.
Hopper made his on-screen debut portraying an epileptic in an episode of the Richard Boone television series Medic. That same year, he was cast in the 1955 movie Rebel Without a Cause. Its star, James Dean, would become one of his closest friends and the two were reunited on set in the movie Giant.
After Dean’s shocking death in a car accident in September 1955, many noted that Hopper began taking on his friend’s defiant attitude, even refusing direction while at work as an actor.
On the set of From Hell to Texas, Hopper famously began improvising scenes, causing as many as 80 takes and making enemies with the crew. After that incident and the erratic behaviour that followed it, he was largely blacklisted from prominent Hollywood projects and relegated to B-movies.
During this period, he took roles in a raft of television shows, including The Twilight Zone and Bonanza. Gradually, he worked his way back into Hollywood’s good graces, including nabbing roles in two John Wayne movies, The Sons of Katie Elder and True Grit.
Hopper’s major comeback was 1969′s Easy Rider, which also featured Jack Nicholson, Terry Southern and Peter Fonda.
The story of two motorcyclists in search of freedom as they ramble through the southern U.S., the movie was released at the peak of the hippie movement. Capturing the zeitgeist of the time and resonating both with audiences and critics, it landed Hopper a host of honours, including best first film at the Cannes Film Festival and an original screenplay Oscar nomination (which he shared with Fonda and Southern).
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Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
EXCLUSIVE: AFRO PUNK – The Movement, Pt. 1: FISHBONE’S Norwood Fisher
May 27th, 2010 Filed under: 21 & Under With..., Exclusive! by admin
(Photo - Sarah Hamilton)
Ska has always taken a back seat on the charts in the past 2 decades, this by no means is a sign of its tombstone being engraved. In this installment of our Afro Punk feature, we speak with one of the more modern kings of ska-core: Fishbone.
With a rich history that saw the band release a bevy of studio albums and a current live DVD/CD combo, this California based troupe of “ska-lacious” originators are bigger, bolder and have funk-freaks worldwide 2-stepping all over the dance floor…and in the mosh pit.
Bassist Norwood Fisher caught up with ABORT Magazine’s E.S. Day for their 2nd encounter to get some updates and his views on the Afro Punk movement, the band’s love of Vancouver and more.
E.S. Day : Scott Day here for ABORT Magazine, We are here on the phone with legendary bass player, songwriter, Mr. John Norwood Fisher of Fishbone. How are you sir?
John Norwood Fisher: I’m having a great day today.
ABORT: Is it a good day in L.A.?
JNF: Yeah man, its a good day in L.A..
ABORT: Sunny?
JNF: Weather’s nice.
ABORT: Good, good. Everything’s lovely? (laughs) It would be lovelier if I get on with the fucking questions and get this interview over right?
JNF: (laughs)
ABORT: Ok, sure enough. Now this tour, you did recently with he English Beat sees obviously both ska influence bands. English Beat more of ah…defiantly a ska band in that light of…they stray from the heavy stuff like Fishbone. How did that tour come together and what this is all about?
JNF: (Laughs) I’m with you though. We did a festival with The English Beat, ‘Reggae On The Rocks’ in Denver Colorado. Actually David and I sat down in an airport on the way to the show and we started having a really good conversation and we actually, I think we sat next to each other on the way to the festival on the plane. It was in those conversations; Dave actually brought it to my light. He was like, “hey maybe we should do a package tour” and I’m like ‘you ain’t got to say that twice’. Ya know, when it comes down to it, The English Beat was one of the very first ska bands that I ever heard. It was The English Beat and The Selector.
ABORT: The Selector, I was gonna say The Selector and The Specials all that. Yes, for sure.
JNF: Yeah, yeah, I mean I heard The Specials not too long after that, but it was really the first ska that I knew and recognized. It was The English Beat and The Selector dude. You know, I’m a, bottom line and I’m like “Fuck yeah dude let’s ride.”
ABORT: Yeah for sure. Yes defiantly. So that was a no-brainer there.
JNF: Yeah buddy.
ABORT: The tour started in Texas, so you were in barbecue country. I wish I had been but I’m not allowed in the States, ironically. So next time have some ribs for me if you’re a meat eater.
JNF: I do not eat meat man.
ABORT: Shit, shit. Alright well fuck it then. (Laughs) Well have some sauce for me, or something, have a veggie. Veggie sandwich with some real Texas barbecue sauce.
JNF: I never cared for barbecue sauce, I’ll tell you about it. (Laughs)
ABORT: Ok, alright. Is there going to be any Canadian dates coming up for Fishbone? Namely, Vancouver. Since this interview Fishbone have announced their headlining appearnce at the Skafest in Victoria
JNF: I’m not very sure of that. I think we’re gonna end it there, but my first conversation, like I’m probably, I’m gonna let a few shows go by man. Like Dave dude. You know, Canada. The United States but you know. Maybe pick it up later in a year, maybe when the weather’s better. I dunno.
ABORT: See what happens, ok. Our weather’s not bad right now; I mean we still had no snow this winter so it’s pretty good.
JNF: Really?
ABORT: Nothing. Nothing at all. Not even a speck. Not even a light dusting of snow. Nothing so, yeah which is weird for the winter Olympics that came here. Ironically, I dunno. Where they gonna get the fucking snow, but anyway. Most of its up in the mountains anyway but…. Uh, the reason I was asking is because, when I interviewed you a couple of years ago actually. You and Angelo, upstairs at the Plaza Club. You had just released ‘Still Stuck In Your Throat’ and we had a quick chat there. Angelo was selling his comic book or his book or something. We had a chat up there, he was giving me the stink eye, cause I asked some questions he didn’t like and he scared the bejesus out of me. So… (laughs)
JNF: (Laughs)
ABORT: We haven’t spoken since. The reason, I was also thinking about Vancouver is one of my questions. Maybe explain to some of our readers, your connection with Vancouver and some of its musicians? Your name is well known around town and I think a lot of people are not aware of that. At least in the States. You know, you’ve worked with Mr. Plow I believe and some other artists. What is it about Vancouver that keeps bringing you back?
JNF: Well ya know, it used to be the beer.
ABORT: Yeah of course, and the weed.
JNF: Ya know, I don’t drink anymore and I don’t smoke anymore. (laughs) You know what, it’s a beautiful town. The women are beautiful. It’s a fun place to party. I might not smoke or drink, but I still like to get out. Enjoy some nightlife.
ABORT: Live music, lots of live music here, yeah.
JNF: Yeah. It’s a place; we’ve been coming to Vancouver for like a good portion of these 25 years.
ABORT: That’s the thing; you have such a strong fan base here and a devout following. That’s why I was curious if there going to be any Vancouver dates. By the way, speaking of ‘Still Stuck In Your Throat’, since then you guys did the CD/DVD combo Live in Bordeaux. What’s next for you as far as a studio album? Two-part question. Drop a dime on the Fishbone documentary ‘Everyday Sunshine’, tentatively titled?
JNF: Right, right. Well look, we have ‘Live in Bordeaux’. That was really awesome and exciting adventure. Ya know, we threw an awesome tour of Atlanta to the filming of that show. It captured the excitement the Bordeaux audience, fan relationship we have the French there. It was pretty awesome. Then we have the documentary ‘Everyday Sunshine’ which actually Monday we’ll start the score and try to get it wrapped up and ready for south by Southwest. I don’t know the whole procedure to the release thing, but it’ll be out sure it’ll be available very shortly for people to see.
READ THE ENTIRE INTERVIEW IN ISSUE 16 OF ABORT Magazine (Due sometime in the next 5 years)
By E.S. Day
Transcribed by Jonathan Parsons
CHECK BACK FOR MORE AFROPUNK Interviews featuring AfroPunk Founder and documentary filmmaker James Spooner and we speak with Brooklyn’s newest hardcore act Game Rebellion. All of this and more, as we lead up to this year’s Afropunk Festival feat. Bad Brians and more!
WANT MORE EXCLUSIVES? CLICK HERE
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
ABORT Recommends…HOT RODS & COOL BROADS 3 Group Art Show – Saturday, May 29, Vancouver, BC
May 27th, 2010 Filed under: ABORT Recommends..., Made In Canada, News/Calendar/Industry by admin
HOT RODS & COOL BROADS 3 Group Art Show
Saturday May 29
12pm -12am
Pat’s Pub
403 E. Hastings St.
part of Fireball Productions
4th annual GREASE N GRIND Show n Shine!
The RAYGUN COWBOYS
The ZIPGUNS
DUOMATIC SYSTEM
w/ DJ THEE SWINGIN’ CREEPER
Tickets for the evenings festivities are $12
and are available at the bar and Red Cat Records (4332 Main Street)
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
Zack de la Rocha Preps Arizona Boycott
May 26th, 2010 Filed under: News/Calendar/Industry by admin
(Billboard) – Rage Against the Machine lead singer Zack de la Rocha has enlisted dozens of musicians and activists to join The Sound Strike, an open call by artists to boycott the state of Arizona over its recently passed immigration law. The law passed by the Arizona state legislature, SB1070, requires local authorities to determine a person’s immigration status if he or she is suspected of being undocumented.
Groups like Cypress Hill, Juanes, Conor Oberst, Los Tigres del Norte, Rage Against the Machine, Cafe Tacvba, Kanye West, Calle 13 as well as Oscar winning filmmaker and activist Michael Moore have signed on to the campaign, which was announced on thesoundstrike.net today.
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.
