Capone's Johnson City

2012-03-01T09:34:00.000-08:00

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Valentines Day Feb.14th Black Stone Cherry, Cavo, and Rains

2012-02-01T08:08:00.000-08:00

Deep down in Louisiana, close to New Orleans, rang like a Sunday morning church bell, calling on saints and sinners alike to free their minds and become part of the revolution. They came out of the Southern swamps, the California desert, the working class towns of the Midwest and all along the East Coast. Loud guitars and larger than life drumming came together with storytelling poetry. Rebel-ism gave birth to rock “n’ roll. Every few years or so, a special batch comes up from the ground, to serve as a beacon. Black Stone Cherry has arrived with their second Roadrunner Records release, Folklore and Superstition due out August 19.

"There is a mystique with folklore and superstition," says Black Stone Cherry drummer John Fred Young. "We're intrigued by and interested in history, roots and heritage, and we incorporate that into the band." The ability to tell compelling stories and lyrical tales isn't the only thing that Black Stone Cherry brings to the table. The band can churn out riffs that'll put hair on your chest. They crank out choruses that are fit for a fist-raising rebel rousing and still keep the beauty of a Sunday morning back porch service. Folklore and Superstition isn't just a Southern rock record. It's an American rock n’ roll record.

The album is a timeless work by American pied pipers destined to take their music from the back roads of America to the four corners of the globe. "We are taking Southern tradition and giving a taste to the rest of the world," says bassist/vocalist Jon Lawhon.

Black Stone Cherry didn't stray too far away from home to record the album. The band wrote all the songs in the infamous Practice House, an old farmhouse used by John Fred’s father and uncle to write Grammy winning albums for The Kentucky Headhunters. A song like “Soul Creek” fills the room with its vintage arena rock sound yet was born where the band held bonfires around a creek across the road.

The band enlisted famed rock producer Bob Marlette (Ozzy, Shinedown) and headed to Nashville’s Blackbird Studio that has housed everyone from Kid Rock to The Raconteurs, just 85 miles from their hometown of Edmonton, Kentucky. “We incorporated regional sounds into the mix throughout the album,” says Young. The band used turkey calls, a banjo and a washtub basin, among other things. Jon Lawhon recalls, "I made a washtub bass out of a tub, a broom handle and nylon rope!" Clearly, the band shyed away from absolutely nothing when it came time to explore and experiment. "We didn't want to leave any door unopened while recording," says guitarist/vocalist Ben Wells.

Years of touring in support of their self-titled debut helped inspire and direct Black Stone Cherry's worldview when it came time to write the new album. The band traveled extensively outside the United States during the tour cycle on their 2006 self-titled debut. This allowed them to stretch their creative muscle and flap their musical wings even higher, with songs like "Please Come In" and “Sunrise” that show the band's growth and diversity.

"This album has allowed us to dig deep into our roots," continues Young. "It also shows the influences of the songwriting. Our band is a positive band and we try to write songs that are uplifting. We also have a very big storytelling side which comes through on the songs 'Ghost of Floyd Collins’ and ‘Reverend Wrinkle.’"

Vocalist/guitarist Chris Robertson reflects on the process, saying, “Starting out as a band seven years ago, with high hopes and even bigger dreams, I honestly believe this record shows the experience of our past travels, and gives a hint of the future. It captures all the energy and heart that make up Black Stone Cherry. We took some chances on this album and I believe that our fans will appreciate seeing the other sides of the band that they may or may not have known existed.”

Guitarist/vocalist Ben Wells comments on the band’s expansion of its sound and subject matter, saying "The songwriting took on a life of its own, as the structures of the songs themselves have grown so much from touring. We have so much more to talk about and can use the things we picked up musically.” He admits the band also kept the ladies in mind this time around, recalling, “On the last album, girls would come up to us and say, 'You have songs for guys, so where are our songs?’ So we have a song called 'You' on this album, which is a timeless ballad."

The band’s family and friends are another influence. "Long Sleeves" is told from the viewpoint of a friend who took part in the battle of Mogadishu as featured in the film “Black Hawk Down,” while "Things My Father Said" is a ballad that hits home with people from all walks of life.

From the eerie swagger of “Devil’s Queen” to the tell tale rocker “Blind Man” to the triumphant stomp of the anthem “Soul Creek,” Black Stone Cherry say the trick to Folklore and Superstition is simply brotherhood, family, friends and home; no more, no less.

Pop Evil w/ Lansdowne Jan. 24th

2011-12-17T18:33:00.000-08:00

Since re-releasing their first record in 2008, Pop Evil has developed their following the hard way. They have toured the US continuously since their first release, playing nearly 400 shows in two years and only taking time off to record their new album, War of Angels.

Leaving no stone unturned, no fan's question unanswered, and no road untraveled, the group pulled themselves up from their bootstraps and built themselves into a radio rock powerhouse that conjures the dirtiest hooks of the hard rocking 70ʼs, the hair metal 80's and the grunge - fueled 90ʼs…filtering it all through a modern prism coupled with a philosophical and spiritual outlook.

War Of Angels is a testimony to Pop Evil's resilience. Having been down a major label route fraught with the frustrations felt by far too many bands, the group has emerged with a Top 5 Active Rock single. They toured with Papa Roach and Judas Priest and created what Spin Magazine called one of the "10 Best Moments of Rock on the Range" where in front of tens of thousands of their heartland of the U.S.A. rock fans, they ceremoniously tore up their old contract and announced a new dawn.

With an output that easily appeals to students of Guns N' Roses, Pantera, Motley Crue and Aerosmith, Pop Evil is still nevertheless possessed with a talent, charisma and overall musical aesthetic that is decidedly and distinctly their own. They have put their stamp on the hard rock landscape with assured confidence and expert precision.

"Weʼre just a bunch of guys that grew up together and are hungry for rock nʼ roll," frontman Leigh Kakaty simply states. "There are no othersecond options for us. Itʼs just music. Thatʼs what weʼve done, this is where we've always wanted to be, and grind is what weʼll continue to do."

Coming from Michigan, one of the states in the nation hit hardest by the economic downturn, Pop Evil knows something about hardship and the heart that it takes to persevere, to overcome and to conquer. They know the meaning of hard work, too. Their indie debut, Lipstick on the Mirror, resulted in a rerelease through a major label and several inroads on rock radio but it's been word-of-mouth and live shows that have really driven the recently renewed momentum behind the band as their unique story continues to build.

"Weʼre just a good old fashioned Midwestern band that believes in grassroots and doing it from the ground up" Kakaty explains. "Weʼre the same band thatʼll rock your face with some heavy metal riffs then bring out the acoustic guitar and play some ballads."

Their very monicker represents something of a lifestyle to these five men. "Pop" represents the band's impressive hooks and well-crafted choruses while "Evil" conjures the more aggressive, hard rock side of the band. The band is a true mixture of pop sensibilities and "evil" sounding rock n' roll. It's not so much about distancing themselves from the mainstream as it is about forcing the mainstream to come to them on their own terms.

"I think all five of us didnʼt really fit in, in our own ways, growing up," Kakaty reasons. "Pop Evil is kind of our way of saying, "this is our fraternity, our home.'"

The songs on War Of Angels reflect the various shapes, colors and emotions represented in a Pop Evil performance. The album provides a brilliant showcase for Kakaty's impressive range and various approaches, the guitar showmanship of Dave Grahs and Tony Greve, the solid bottom end of Matt DiRito and the rhythmic pulse of drummer Dylan Allison.

"Last Man Standing" is a shot across the bow, serving notice to the rest of rock radio-land that Pop Evil crafts music of a higher caliber. "It's amazing to see the reactions we get from the fans and how much the song means to them. That is priceless," Kakaty says.

"Bosses Daughter" was co-written with the legendary Mick Mars of Motley Crue. "It's got that rockin' vibe where it picks up and just doesn't stop," points out DiRito. "I get such a kick out of playing it live. I feel like I'm in Motley Crue. It becomes my Nikki Sixx moment!"

Other standouts include "Monster You Made," which addresses some hard times and points to the power of positive thinking to overcome obstacles. There's also "Broken & Betrayed" which has beautiful melodies and incredibly memorable singalong harmonies.

"Next Life" is perhaps the album's most reflective song, particularly for Kakaty, who lost his father earlier this year. "Obviously itʼs a very personal piece for me as well." "And the list goes on with every song," he adds. "I donʼt think thereʼs any one I love more than the other, I usually listen to the song that best fits my mood."

With a career-defining sophomore album in their arsenal, Pop Evil are primed and ready to take their rightful place in the hard rock pantheon amongst their contemporaries and heroes. "We want to be known as a band with great music and a great live show," DiRito says.

Pop Evil is no fly-by-night, fair-weather band. War Of Angels is just one more giant leap in a career that has been built on a solid foundation and is intended to continue onward.

Kakaty concludes, "at the end of the day, we want our fans to know that we've sacrificed our personal lives for them. We want the people who listen to our music to know that they've become our new family. That's why weʼve given up so much to do this. They are loved. Music is Love!"

Leigh Kakaty - Lead Vocals
Dave Grahs - Guitar
Tony Greve - Guitar
Matt DiRito - Bass
Dylan Allison - Drums

UNKNOWN HINSON Nov. 18th

2011-11-04T20:06:00.000-07:00

The UNtold Story of Unknown

Looking somewhat like Dracula's nasty little brother who spent some hard years drinking and working as a carnival barker for a second-rate freak show, Unknown Hinson translates that vibe to his style of country and western-tinged psychobilly. Hailing from Charlotte, North Carolina, this red-necked crooner gained regional popularity with a self-produced television show in 1992 and soon was touring nationwide, wowing audiences with his outrageous and campy, white-trash persona and freewheeling, sleazy tone. Hinson’s most recent CD release, “Target Practice”, melds weepy twang and searing guitar riffs and lyrics that speak of love-gone-bad and the dark side of the honky-tonk lifestyle. Raucous, theatrical and over-the-top, Unknown Hinson isn’t just for the trailer park set anymore!

He's toured with Hank3 and Rev. Horton Heat.
Billy Bob Thornton names Unknown as one of his favorite songwriters and a genius picker. Matt Groening (the Simpsons) labels Unknown as a guitar maniac (and funny as hell to boot!) Hank3 has Unknown's face tatooed on his bicep! Marty Stuart introduced him as his illegitimate brother at the Ryman in Nashville, and is placing Unknown on the front cover of his upcoming book of personal photographs. Tom Petty came backstage at a Hollywood event to ask Unknown how he gets his "sound". The Rolling Stones invited him to participate in the soundcheck session for their latest show in Charlotte, NC.

Unknown is also gaining notoriety (and fans) as the voice of lead character "Early Cuyler" in the popular new show from Cartoon Network "The Squidbillies". The first season was so well-received that an immediate green light was given to two more seasons.

What do ventriloquism, hoola hoop contests, target practice, monster sideburns, and hellacious guitar solos have in common? Book Unknown Hinson and find out!

Website
http://www.unknownhinson.com

Discography
21 Charttoppers (Uniphone)
The Future Is Unknown (Uniphone)
The Future Is Unknown (Capitol)
RocknRoll is Straight from Hell (Capitol)
Target Practice (Coffin Records) May 2006

Halloween with Goodspeed Oct. 29th

2011-10-25T08:01:00.000-07:00

This will be Goodspeeds last show ever so do not miss this one!!!!!

Oct. 7th Matt Stillwell w/ The Taylor Barker Band

2011-09-28T07:05:00.000-07:00

Matt Stillwell's move to Nashville was the ultimate eye-opener.

"I watched friends do showcases and hoped someone would show up," he says. "I watched them being promised record or publishing deals that might or might not happen. So I made the decision that what I needed to do was to eliminate the ‘no’s, and the way to do that was to go build a following."

A man with a work ethic as big as his talent, Matt did just that, and in this age of American Idol and viral videos, he has built his following the old-fashioned way--one city, one club, one crowd at a time.

In the last year Matt has had numerous accomplishments, with his past two singles “Shine” and “Sweet Sun Angel” climbing up the radio charts and both singles receiving a tremendous amount of airplay on GAC and CMT. Matt has appeared on CBS Sunday Morning with NASCAR legend Junior Johnson in a set that showcased “Moonshine” and Matt’s sponsor Carolina Catdaddy Moonshine. Matt played the Freemond Street Festival for the ACM Awards in Las Vegas with Zac Brown Band, Jason Aldean, Jake Owen, and Kelli Pickler. He has also played shows with highly recognized country music talents such as Alan Jackson, Darius Rucker, Eric Church, Pat Green, Randy Houser, Eli Young Band, and Colt Ford.

Matt Stillwell has proved to be a distinguished success, signing with Average Joe’s Entertainment, Full Scope Entertainment and is now being booked by New Frontier Touring. Matt has also created his own music festival “Stillwell Shinefest” and by the second annual festival, held in Village Resort in the mountains of North Carolina, the audience nearly tripled in attendance.

Since the release of his debut album, Shine, and the current single from the record “Dirt Road Dancing”, fans nationwide can experience the magic that Matt brings to bear every time he steps in front of a microphone. In a recent interview, Roughstock.com noted "Matt Stillwell has managed to carry a niche in the country music world with his star on the rise."

Shine, his current album release on Average Joes Entertainment, showcases the qualities that have brought him to the threshold of national attention--the songwriter's knack for finding the truth in any situation, the vocal chops to do justice to the joy and passion in each song, and the ability to take an audience on a roller-coaster of emotion and leave them better for the ride. Local news and gossip site NashvilleGab.com praises Stillwell's versatility adding, "Matt proves he is not a one sided artist, and shows his softer side balanced perfectly into the mix."

Friday Sept. 9th Rob Russell & The Sore Losers w/ Stephen Simmons

2011-09-07T10:19:00.000-07:00

Jesco White w/ Dan Deel, Pick up the Snake, And The Tremors Aug 27th

2011-08-08T10:58:00.000-07:00

Jesco White was born in Bandytown, a tiny community located in the Appalachian Mountains of Boone County, West Virginia.

Referred to as 'Appalachian Royalty' by some, Jesco is best known as 'The Dancing Outlaw'. Taking the shoes that were handed down to him from his father D Ray White (one of the greatest mountain tap dancers in the United States), Jesco practices a style of dancing that is a subtle mix of tap and clog dancing derived from this native Appalachian region.

As the popularity of the mini documentary The Dancing Outlaw grew ... so did the demand for Jesco. Many became aware of Jesco through third generation VCR tapes that were copied and handed off in a series of unimaginable successions that made him the cult icon that he is today. From Architects to Mechanics, Jesco's mystique and charm have captivated people for over a decade ... and made him one of the most notorious members of the 'hellbilly' movement.

Jesco has been linked to many popular artists through song. Big and Rich mention him by name in the single 'Comin to Your City'. Hank Williams III wrote the song 'Legend of D Ray White', which honors the cultural significance of Jesco's father. It also mentions Jesco ... as well as another legendary Boone County artist, Hasil Adkins, and Jesco's sister Mamie White. Jesco has been known to lend his taps to music beds of many country songs.

On the heals of the newly acclaimed feature documentary The Wild and Wonderful Whites of West Virginia ... the wild man from Boone County is once again poised to captivate, and hitting the road to promote the White family lifestyle of hillbilly hi-jinks and tales of drugs, guns, and fighting ... all part of a day in the life for the martyr of mountain tap dancing.

Fifth on the Floor Friday July 22nd

2011-07-19T12:01:00.000-07:00

Fifth on the Floor started out like all good bands do: on a Friday night over a bottle of Maker’s Mark. Over the years full of songwriting, lineup-changes, and hangovers, the grouping of Aaron Graham, Jason Parsons, Matty Rodgers, and Justin Wells solidified the group dynamic and sound that are instantly identifiable.

Less than a month after inception, Fifth on the Floor was hitting venues all over Kentucky. Soon after, the band was rocking stages in Virginia, Tennessee, Illinois, and Ohio. The songs that developed were recorded on FOTF's debut record, "The Color of Whiskey". The release is as much a melting pot of American music as the band itself, with songs ranging from honky-tonk to southern jam to hard rock, and everything in between. "The Color of Whiskey" is as unabashedly raw and straight-forward as FOTF's stage show.

Fifth on the Floor signed to Sol Records in late 2009. With the 2010 release of their sophomore record and Sol Records debut "Dark and Bloody Ground", Fifth on the Floor built a rock-solid testament to honest music, with nothin'-but-guts songs like "Shine", "On My Way", and "The Fall". The record describes hard times, but with its chin up and its fists raised. “Dark and Bloody Ground” made DJ Red Hickey’s (Knoxville’s WDVX Blue Plate Special) “Top 10 Albums of 2010”. Recently, the album has been praised by Shooter Jennings, and is consistently played on Shooter’s Electric Rodeo show on Sirius Radio’s Outlaw Country.

FOTF wears their country/Americana roots on their collective sleeves, yet the rock-infused energy of their live performance is something to behold. Having played hundreds of shows on stages throughout the South and Midwest (including shows with The Marshall Tucker Band, Dale Watson, Chris Knight, Brantley Gilbert, Whitey Morgan and the .78’s, The Eli Young Band, Jason and the Scorchers, and Blackberry Smoke), they've honed their show to an unforgettable experience. A Fifth on the Floor show is not unlike a one night stand: they let their hair down, kick your ass, and, with any luck, you'll remember it in the morning.

The Dirty Guv Nahs Thursday July 14th at Capone's

2011-07-05T11:11:00.000-07:00

I don’t believe that things happen by chance… incredible things happen when people work hard, live humbly, and give credit where credit is due. You just gotta stay curious and dig in.”
– James Trimble, lead singer – The Dirty Guv’nahs

That sentiment rings true to the curious journey of Knoxville, Tennessee’s favorite sons, The Dirty Guv’nahs, who came together on a lark in 2006 to perform just a single show. That one, short, inauspicious set however, led to a series of extraordinary events—a life-changing path for these six UT, Knoxville grads—but still just the prologue to a story that continues to unfold.

The Dirty Guv’nahs new CD, Youth Is In Our Blood, produced by two-time Grammy-winner Justin Guip (Levon Helm, The Black Crowes) at Helm’s renowned barn/studio in Woodstock, NY is the follow-up to their eponymous 2009 debut. It is a hot, roiling stew of gritty, soul-influenced rock ‘n’ roll, mixed with a hefty helping of roots, funk, blues and country. It’s the sound that has earned them the distinction of being voted Knoxville’s Best Ban —three years in a row—by the readers of that city’s alternative weekly, Metro Pulse.

Considering the accolades the band has received in its hometown region, it is downright ironic that not one of the Guvs had planned to pursue music as a career. In fact, lead singer, James Trimble, who now holds a master’s degree in public administration was preparing for med school when one of his UT roommates, Guvs bass player Justin Hoskins, committed his “band” to perform for a friend’s benefit concert. The only problem? There was no band to speak of.

With barely two weeks to prepare Hoskins (who just finished his master’s in business) recruited Trimble, and his younger brother Aaron Hoskins (the band’s only remaining undergrad). Chris Doody (who also has a master’s in business), had recently returned to Tennessee and signed on. Another roommate, a Knoxville man-about-town known as The Guv’nah, introduced them to guitarist Michael Jenkins (whose degrees now include a bachelor’s of science in nuclear engineering and a master’s in business). “We were four guitarists and bongos,” Trimble recalls. “I became the singer by default. By the third practice Chris moved over to keyboards. None of us had ever played in a band, we really didn’t know what we were doing.”

Nevertheless, something clicked and that show led to another gig. Then Trimble graduated and left the country to travel for the summer. He returned a few months later a changed man, with a passion to play and write songs. The band reunited and people responded to the music and the energy. Soon there were more offers and bigger venues even though shows were sporadic as band members continued in their academic pursuits.

By 2008, a year and a half into their musical venture, the guys got serious and decided to record a CD, so they had music to sell at shows. They headed to Athens, Georgia to work with producer David Barbe, known for his work with R.E.M and The Drive-By Truckers. The Dirty Guv’nahs has a raw, energetic feel, that Metro Pulsedescribed as “…rock the way God intended,” an apt description of their cathartic live shows that consistently drew capacity crowds to Knoxville’s largest bar venue.

The CD arrived in April 2009 and The Dirty Guv’nahs had big plans for its release. “We wanted to play the Bijou Theatre,” Trimble notes. “It was time to move from bars to rock venues.” But theBijou’s promoter AC Entertainment declined to book them, fearing the Guvs wouldn’t draw a big enough crowd in the 750-seat theater to be profitable. Undaunted, the band decided to rent the theater instead, assuming all costs for venue fees, tickets, lighting, and security themselves, a bold and risky move for any artist. The show was a stunning success, and just a handful of tickets shy of a sell-out.

Impressed by the numbers, AC Entertainment chief Ashley Capps, who also organizes Bonnaroo, immediately invited the band to perform at the festival. They played two sets and wowed fans and industry tastemakers alike, one of whom sent tracks to Guip. “He heard some of the songs and loved them,” Trimble says. “And he invited us to come up to Woodstock to record our next CD.”

The result of those sessions, two weeks in December 2009, between final exams and Christmas, is The Dirty Guv’nahs’ new disc, Youth Is In Our Blood. “The time we spent at the studio was great, but tough,” Trimble says of the recording process. “By the second day it had snowed 10 inches, a mountain’s worth for us Southern boys. I came down with the Swine flu and we had a hard time adapting to the specifics of making music in the studio. Justin had some hard talks with us and gave us two days to figure it out or go home. What we had accomplished thus far wasn’t good enough for him to put his name on.”

The day of reckoning came and it didn’t start out well. “We had to dig our van out of several feet of snow,” Trimble, a natural storyteller, reveals. “We’re headed down the mountain to the studio and the van starts belching out this acrid grey smoke. We pulled into the nearest gas station thinking the worst. Turns out we’d driven the last eight miles with the parking brake on!”

Opening the parking brake proved the metaphorical end to a bad beginning. They arrived at the studio, found their groove and laid down five solid rhythm tracks that day. “He definitely pushed our buttons and challenged us,” Trimble says about Guip. “He encouraged us and helped us create some great music. There’s a real honesty that exists on this record, it’s the struggle of a man trying to find his place in a world full of expectations.”

With their new record, a shack-shaking live show and a growing legion of fans, there’s no doubt The Dirty Guv’nahs are indeed perfectly poised to find their rightful place in that world.

Atom Smash July 1st

2011-06-23T08:41:00.000-07:00

Miami FL. based modern Grunge band Atom Smash consists of singer Sergio Sanchez, guitarist Luke "cowboy" Rice, drummer Mark "taco" Annino, and bassist Arnold Nese. The band has toured for three years straight, logging over 600 shows. Their single "Do her wrong" hit number 1 on Sirius xm octane and broke in to the top 15 on the Active Rock charts. Their follow up track "Kill Me" is inspired by a painting of a girl with a death trail behind her. "That girl is music" describes singer Sergio. "The music industry is soul crushing and it's more than the drugs and alcohol doing the killing." The band has battled through the hard times with the help of an army of die hard fans. Sergio explains, "We literally survive by the grace of these beautiful people." The band is set to hit the road this summer.

Pop Evil and Crossfade June 16th

2011-05-23T07:55:00.000-07:00

POPEVIL is the Best Thing to Come Out of Michigan Since The Automobile (ok, the automobile and Kid Rock)

Named as one of iTunes “Top New Artists of ’08,” Pop Evil continues their march across America and the airwaves.As their fan base grows, a history lesson on how they got to “here” might help.

Lead singer Leigh Kakaty whose background includes rap along with rock finds drummerDylan Allison through Leigh’s best friend’s room mate.Guitarist Dave Grahs is playing in another band when Leigh and Dylan invite him to join them.If you’re a Grand Rapids local, you know them as TenFive. The time: November, 2001.

The Beginningsplay the nightclub circuit, find fans, write, perform, fans, write, perform, fans — you get the idea. Band cuts a deal with nightclubs: three sets a night — two sets of covers in exchange for one set of originals.

Leigh makes a promise to himself, for the band and its future. “To take pride in the work we’re doing now and the work we’ll do in the future …and don’t forget to pat yourself on the back for what might be considered a small thing.”

Roll TapeWrite and record a three–song EP as the band now has earned enough money from their shows to finance the recording. Producer Al Sutton (Kid Rock) gets demo from Leigh’s bro, an entertainment attorney. Al loves what he hears. Records the band. Result: Ready or Not EP containing the title track, along with “Somebody Like You” and “Hard Highway.”

Hometown Boys Make Good97.9 WGRD in Grand Rapids supports the band, spinning “Somebody Like You.” Guitarist Dave Grahs shares this thought. “From the beginning it meant a lot to see our friends embrace what we were doing, but it didn’t really set in just how much our local market stood behind us until I was driving down the road and heard, ‘Somebody Like You’ on the radio.”

2005. On The Road AgainNow with Ready or Not EP to help spread the gospel. Two years, countless dates throughout the Midwest and Florida and 12,000 EPs sold out of the trunk of their car. Play, write, drive, sell.

Winter, 2006. Right Place at the Right TimeMajor label radio promo rep visits WGRD in Grand Rapids to talk about label’s upcoming releases. DJ gives rep a tape of Pop Evil. Leigh gets a call to meet the rep, hand delivers a five–song demo to the rep and continues to keep in contact. Rep sends Pop Evil demo to his father, who co–owns independent label, Pazzo Music. In the winter of 2007, one year following the fateful hand off at WGRD, Pop Evil signs with Pazzo Music.

2007. Roll Tape, Full Length CD.Guitarist Tony Greve and bassist Matt DiRito, both from Muskegon, MI join Pop Evil. The sound is a divine collision of “crispy, crunchy, mainstream rock with a little bit of evil,” thanks to the musical and cross–cultural diversity (Eastern Indian, Hispanic, Turkish, American Indian and Polish roots) of the band.

Production for CD begins with Al Sutton and Marlon Young (Kid Rock guitarist) at Rust Belt Studio in Royal Oak, Michigan. 12 songs recorded.

Band heads to spring break in Panama City for more gigs and gets word that Pazzo wants more. In Florida, in–between shows, band does pre–production at Destin Recording withDave Cox.

Band heads back to Michigan (Canton) with producer Chuck Alkazian at Pearl Sound to complete the three final songs for the CD.

2008 May: Pop Evil complete recording their first, full–length CD, Lipstick on the Mirror.

August 12, 2008 Street date for Pop Evil’s Lipstick on the Mirror.

After eight years of funky bars, sleeping in cars and miles of highway leading to another strange city, nothing has changed. Well, perhaps a bit.

Pop Evil has toured consistently since (and prior to) the release of Lipstick on the Mirrorwith a combination of headline dates and “Special Guest” support with Puddle of Mudd,Tesla, Theory of a Deadman, P.O.D., and Saliva.

“We watch the bands opening for us,” states bassist Matt DiRito, “and we not only remember what it was like for us in that slot. We know that band is warming up the crowd for us and in turn, there will always be something for us to learn from them.”

Lead vocalist Leigh Kakaty carries a video recorder with him at all times as the ideas for melodies or lyrics happen constantly.

“There is no separation from my life and my music,” states Leigh. “Pop Evil is lifestyle; leading instead of following and having your opinions matter. It is about being heard when no one wants to listen to you. It is about trying to fit in when no one has room for you. It is about overcoming obstacle after obstacle and knowing how to reward yourself for the little things when there are no rewards from your peers. Pop Evil is about making the world BELIEVE.”

Time for you to believe.

Crossfade

Crossfade may not have conquered all of its demons, but the band is sounding a vehement battle cry.

The Columbia, S.C., outfit’s third album, due on Eleven Seven Music in October, delves into familiar lyrical themes of betrayal and isolation—but there’s also more than a hint of renewal and resolution.

“A lot has changed over the past three years,” offers lead vocalist and co-songwriter Ed Sloan. “Being down and out is something I’ve had to confront like never before. There’s been pain, but I’ve also learned to dwell less on the negative, so there’s a feeling of rebirth, too.”

The set’s 10 tracks, produced by the band, maintain the sonic thunderclap of Crossfade’s previous efforts, while propelling its guitar-grinding signature with a tapestry of orchestration and programming, and a flourish of keyboards, thanks to the addition of Les Hall to the permanent line-up, alongside Sloan, bassist Mitch James and drummer Will Hunt.

The evolution marks a tidal shift in Sloan’s previous role as Crossfade’s singular commandeering voice, but he is the first to admit that sharing duties with Hall was an organic, if not essential benchmark in the band’s growth.

The pair has been buddies since the seventh grade in South Carolina, where they were both regarded as young guitar prodigies. As an adult, Hall was writing music for film scores and serving as a session and touring musician for the likes of Trey Anastasio and 70 Volt Parade, Howie Day and a number of local Columbia, S.C., acts. In 2006, “I randomly stopped by Eddie’s studio to hear tracks for Crossfade’s second album, and he told me they needed an additional guitar player to tour,” Hall says. “I learned both albums in a day and played through one song with the band and that was it; we went out and did our first show together. It immediately felt like home, playing this heavy stuff with your brothers.”

Hall longed to contribute in a fulltime role with the group—as a songwriter, guitarist, keyboardist and arranger—which Sloan embraced. “I had to decide whether to tour with another band and collect a paycheck, or invest in something I really believed in,” Hall says. “Eddie and I had such a bond and mutual respect for each other. I told him I’d quit everything else and join the group if I could be part of the writing.”

Crossfade’s debut self-titled, self-produced album was released on Columbia Records in 2004, which spawned top 10 Mainstream Rock hits “Cold,” “So Far Away” and “Colors”—propelling the album to platinum status. Follow-up 2006 disc “Falling Away,” fostered hits “Invincible” and “Drown You Out,” but with second album sales down amid an industry-wide slump in the music business, the band was cut from the roster.

Being dropped by Columbia choked Sloan’s creative momentum. He admits, “Coming from the success of the first record and losing our way after the second album hit me hard. You get signed, everything is golden and you think it’ll go on forever. After we were dropped, I was consumed with self-doubt. Music had always been my escape, a friend, but then, music became my enemy. I shut down as a songwriter—and actually, pretty much as a human being.

“Les came in, took me by the boot straps and helped me to step forward,” Sloan adds. “After a year of me self-medicating, he just said, ‘We’re going to write about this and make a third album,’ which forced some of these songs that talk about the dark side of life. Les had a big part in rejuvenating my soul, to get out of my slump and focus on music again. He helped me to live my life—and write about it in the moment. It was therapeutic and an inspiration. He woke me from my musical coma.”

The collaborative effort continued to pay off throughout the creative process. With previous efforts, Sloan would record his vocals to Crossfade’s instrumental tracks in solitary confinement. “I’d hit record, run back and listen. But this time, I sang into the mic with a brother on the other side. I would spend four hours getting out what was in my heart, as Les made sure every line was great.”

Because it was Hall’s first hands-on run at recording a full album, “Les had a lot to say. He’s an amazing musician, very skilled on guitar and keyboards, and his programming savvy is awesome,” Sloan says. “He brought in so much sonic goodness. Over the course of a year and a half, he transformed bits and pieces of songs that were near and dear to my heart into masterpieces. We shared such a similar mindset and it became a much more personal experience.”

For his part, Hall says his mandate with the album was to keep Sloan’s familiar vocals front and center, while cultivating a distinctive new production stamp for Crossfade. He says, “The common threads were Eddie's voice and knowing that we still wanted songs with a message and as strong a sound.”

“Honestly, I had no interest in creating the same sound,” Hall notes. “The goal was to discover something fresh that felt real. I’m not a fan of bare bones mixes, so I wanted to help Eddie make this epic, with a lot to hear, all packaged around a well-written song. If we had focused on what the band was and tried to recreate that, I don’t believe the songs would have come out right. When you have no limits, no expectations, things come out better.”

Highlights on the third album include “Dear Cocaine,” a slow burner that addresses letting go of addiction; “I Think You Should Know,” offering a deceptively temperate arrangement behind a lyric about escaping reality by retreating in sleep; and “Killing Me Inside,” a straightforward assailing classic Crossfade rock ‘n’ roll anthem, albeit with a touch of crafty orchestration.

Sloan and Hall maintain that cutting the ties associated with a major label also helped to charter that new path. “It was a fresh start. We spent two years writing whatever we wanted, with no expectations, no deadline,” Sloan says. “Who knew if we would even release another record? It was a blast to have no obligation to copy the past.”

Sloan also lends credit to bassist Mitch James. “He’s been very patient over the last few years as a friend and confidante. He had a number of suggestions that helped us turn things around, and I respect him as a brother and friend that has been with the band since its inception.”

Ultimately, Sloan is convinced that followers of Crossfade will find comfort in familiar lyrical themes, while appreciating the new aural amplitude. “Crossfade fans will hear and feel the things they know from us,” he says. “It’s pouring out our hearts, as we’ve always done. But sonically, there is a new inflection. As a band, we have been reborn. We’ve always been dark, and people need that as a backdrop to things they’re enduring in their lives, but I like to think it’s poignant, too. There’s a new level of positivity that gets you ready to face the day.”

Apocalyptica May 16

2011-04-22T18:49:00.000-07:00

APOCALYPTICA

Since they formed in 1993, Finnish orchestral rock band Apocalyptica has released six studio albums featuring numerous cello-based instrumentals along with some vocal-based songs. Whatever styles they’ve explored – from atmospheric interludes to fast, battering rhythms -- their music has been gripping, dynamic and full of melody. But with their seventh album, 7th Symphony the band has composed an album that not just symphonic, it’s practically a symphony.

“The instrumental stuff is more instrumental than anything we’ve done before,” says lead songwriter and cellist Eicca Toppinen. “For the previous albums, we sometimes had songs which had the potential for vocal tracks, but turned out to be instrumentals. This time, the instrumental tracks are pure instrumentals with long, progressive passages. We wanted to write instrumentals where nobody’s feeling ‘Oh, it’s great, but where are the vocals?’”

At the same time, 7th Symphony contains songs that rock harder than anything they’ve done since 2001 when they released the epic, transfixing album Cult, their first album to contain mostly originals. In the same way that Cult caused fans to view Apocalyptica from a different perspective, 7th Symphony is the next forward step in the group’s creative evolution. Most of the songs on the disc were produced by Joe Barresi (Queens of the Stone Age, Tool) and two of the four vocal numbers were produced by Howard Benson (My Chemical Romance, Papa Roach).

“Joe told us, ‘You know guys, this album will bring your metal fans back’” Toppinen says. “It’s heavier and more exciting. It has a very dramatic classical-metal mixture. And the hard stuff is really hard.”

In addition to the six symphonic tracks, 7th Symphony features four songs with vocals that were co-written with other established artists. The first single, “End of Me” was co-written with Johnny Andrews and Bush frontman Gavin Rossdale, who sings on the tune. “It’s definitely a cool rock song,” Toppinensays. “Gavin definitely had his own ideas and wanted to change some of the music and lyrics, but working with him was pretty easy. He’s a nice guy and he’s very professional.”

The other guest vocal performances are equally impressive. Brent Smith from Shinedown sings on “Not Strong Enough,” which was written by award-winning pop songstress Diane Warren (Aerosmith, Toni Braxton, LeAnn Rimes, Trisha Yearwood) and produced by Howard Benson (My Chemical Romance, Papa Roach). Benson also worked with Lacey from Flyleaf on the song “Broken Pieces.”

One of the heaviest songs on the album is “Bring Them to Light,” a collaboration with Joe Duplantier, of the French extreme experimental/progressive metal band Gojira. Toppinen was introduced to Duplantier by his music publisher in France, who also works for Gojira. “He had a feeling that we would get along well and he was right,” the cellist says. “The combination is great. It doesn’t sound like Gojira, it doesn’t sound too much like Apocalyptica. It’s symphonic thrash metal and Joe makes vocal patterns in a way that he’s never done with Gojira, which is very exciting.”

Working with Barresi as the main producer, was rewarding for Apocalyptica for a couple reasons. First, after years of flying around the world to record, they were able to work home in Helsinki. More importantly, they appreciated Barresi’s ear for detail and creative ideas. “We used much more effects than we usually do and got a different kind of sound experience than ever before, but still I think the album is very organic,”Toppinen says. “The drums area more natural and there’s not so much sampling or editing. When we were tracking, we just found great sounds and recorded them right there. We didn’t fix them in the mix with punch ins like people do nowadays.”

One of Toppinen’s favorite songs on 7th Symphony is “Beautiful.” The all-orchestral number was recorded with three cellos and drummer Mikko Sirén on bass. “It was the first time Mikko played bass in his life,” Toppinen says. “It’s a beautiful acoustic song recorded in one take in the studio.”

If “Beautiful” sounds bare and vulnerable, it might have something to do with the way in which it was recorded. “We decided to play it naked,” Toppinen says. “It was a moment where there were four guys naked in the room just playing acoustic music. Being naked always brings good feelings. We tried with clothes on, and we were like, ‘Oh, something is missing.’ Mikko wanted to celebrate his bass playing by being naked, so he was already naked so we thought, ‘Okay, everybody else should get naked, too.’ Immediately, it was much more fun.”

Apocalyptica started writing 7th Symphony last fall and Sirén flew to Los Angeles in January to record the drums. But as soon as he arrived, Toppinen had a sudden burst of creativity back home. “I wrote three more songs after that,” he says. “So I was just sending him demos and he was tracking the songs. Then we recorded all the other parts, and it was strange to go into a studio to record songs that we hadn’t fully rehearsed and that didn’t even have the final arrangements. A lot of stuff was missing. But it was exciting because it made us do things in a different way and be creative all the time. And it made things fresher because it wasn’t like we went, ‘Okay, we did five demo versions of the songs, let’s decide which way to go?’”

7th Symphony is the musical culmination of 17 years of hard work. Apocalyptica started in 1993 as an outlet for Toppinen and three of his classically trained classmates at the prestigious Sibelius Academy. Three years later, they released their debut, Apocalyptica Plays Metallica by Four Cellos.

“When we made the first album, our expectations were, ‘Okay, if we sell 1,000 copies and get a few shows, that’s cool.’ Then, we got the requests to play a lot of shows after the first album and the sound changed totally. We realized, ‘Okay, the first album sounds horrible, so let’s make another one which is more exciting.’”

On 1998’s Inquisition Symphony Apocalyptica refined their approach and procured better production from Otto Donner and Hiili Hiilesmaa. Like their debut, the album featured Metallica songs, but it also included covers of songs by Faith No More, Sepultura, Pantera and three originals. “It was funny because after the first album everybody said, ‘Alright, this is cool for one time,’” Toppinen says. “And after the second album, people said, ‘Okay, now we have seen this thing. You can’t do anything next.Apocalyptica’s over.’ And still we are here.”

In order to remain relevant, Apocalyptica knew they had to make some changes. So, for their 2000 albumCult they only included three covers; the rest were Toppinen originals. Also, the band brought in vocalists Sandra Nasic and Matthias Sayer to sing on two of the songs. The album didn’t sit well with their record label, which wanted another full album of metal covers. Fortunately, Apocalyptica’s contract had expired and the label didn’t pick up their option in time.

“They wanted crazy cover versions of Motorhead and AC/DC, and we ended up ‘No, we don’t want to do that. The contract is over.’ And you can hear the emotion in the Cult album. That’s a passionate album. We were lucky that we got a new label in Germany and got the album released, but it wasn’t easy and it was a really important turning point. If we would have been following the guidance from record label to do a third cover album, I think that would have been the last album of Apocalyptica. That album created a new style.”

When Apocalyptica returned to the studio in 2003, they had a new direction and drive. They enjoyed the vocal tracks on Cult so much they asked pop star Nina Hagen to sing on a cover of Rammstein’s “Seeman” and Swedish celebrity Linda Sundblad to add vocals to “Faraway, Vol 2.” The follow up, 2005’sApocalyptica was even more star-studded. “Betrayal/Forgiveness” featured guest playing by Slayer drummer Dave Lombardo, “Bittersweet” included vocal tracks by HIM’s Ville Valo and The Rasmus’ Lauri Ylönen, who also sang on “Life Burns!”

But it was 2007’s Worlds Collide that turned Apocalyptica into an international phenomenon. As with its predecessors, the disc featured numerous guest stars: Lombardo returned for “Last Hope,” Slipknot’s Corey Taylor appeared on “I’m Not Jesus,” Lacuna Coil’s Cristina Scabbia sang on “S.O.S. (Anything But Love)” Rammstein vocalist Till Lindemann performed on a cover of David Bowie and Brian Eno’s “Helden”and Three Days Grace singer Adam Gontier sang his heart out on “I Don’t Care.” Radio reacted and “I Don’t Care” launched the band to number 59 on the Billboard Hot 200 and number seven on the Billboard Top Independent Albums and Top Rock Albums charts.

“It was really strange to have that kind of success,” Toppinen says. “The Rammstein cover we did with Nina Hagen was really successful in Central Europe. And the song we did with Ville Valo was really successful in Europe. But we had never had any type of real success in America. Even when we wrote ‘I Don’t Care’ and the first demo was finished, I thought, ‘Okay, this could be massive,’ but I never expected it to be so big.”

With a summer tour planned for the U.S. and Europe, the stage is set for 7th Symphony, Apocalyptica’s most eclectic and inspired album to date, one that places equal emphasis on beautiful melodies and heavy, bombastic rhythms.

“We worked really hard on this record and had a lot of fun doing it,” Toppinen says. “I think if you like instrumentals, you will like this the most and if you like the rock stuff you will also like this the most. ThisApocalyptica album has something for everybody.”

April 9th Nonpoint, Straight line Stitch, Surrender The Fall

2011-04-07T11:03:00.000-07:00

It’s one thing to be prolific. It’s another thing to not only kick maximum ass with every album, but constantly challenge yourself and your audience in the process. In a modern rock landscape littered with lowest common denominator dreck, Nonpoint have risen above the pack with grace and thunder time and time again. And the seventh time’s yet another charm for the Fort Lauderdale outfit, as latest full-length Miracle fuses searing hard rock brutality with disarming honesty and introspection.

Together since 1997, Nonpoint still boast three of their four original members: frontman Elias Soriano, bassist Ken ‘BASTARD’ MacMillan and drummer Robb Rivera. Axeman Zach Broderick makes an auspicious debut on Miracle, dropping ferocious leads at will to offset hammering rhythms and complement Soriano’s distinctive narrative voice. (Quips the frontman, “We’ve been doing this for 10 years, so Zach joining the band was like that new pair of running shoes: they’re nice and they’re comfortable and they make you feel like you can run a mile longer than you used to be able to.”) Most critically, the quartet enlisted longtime Mudvayne pals Chad Gray and Greg Tribbett to produce. Gray appears in the rollicking call-and-response showdown of the title track (the more-than-worthy first single), which recalls the intense propulsion of previous Nonpoint hits “Bullet With a Name” and “Rabia.” Not only that, but he inspired Soriano to take album centerpiece “Frontlines”—an originally metaphoric slow-burner anchored by the refrain “on the frontlines, fighting for my life”—to an inspiring new level.

According to Soriano, “Chad said, ‘You have family in the military—we all have friends and family in the military. I see these guys out there struggling and they don’t get a lot of help when they come back home.’ He painted this picture, then said ‘Do you think you might wanna define it even more towards being an appreciative song for those soldiers who are dying for us every day?’ and I thought, ‘Absolutely.’ It’s the most evolved Nonpoint song we’ve ever written—some of the softest parts of my voice to the most aggressive parts, and some of the most intricate guitar lines to some of the simplest. And then the message puts the nail in the coffin.”

From revelatory acoustic EP predecessor Cut the Cord to deluges of explosive new material and rousing covers of Pantera, Black Sabbath and Phil Collins—“In the Air Tonight” was a breakout hit from Michael Mann’s Miami Vice—Nonpoint always seem to be a step ahead of the competition. The only bummer is that “Iron” Mike Tyson sorta reclaimed the latter with his memorable a cappella rendition in The Hangover. For his part, Soriano is magnanimous about the champ’s version.

“I felt like ‘Iron’ was feeling it more than I was,” he deadpans. “I never made anybody shut up for the drum fill part. Yeah… I’m gonna throw the baton over to Mike. I mean, come on—you know you feel it when you love it so much it causes you to perform acts of violence.”

April 2nd Matt Stillwell with Jason Sturgeon

2011-03-26T21:02:00.000-07:00

The Delta Saints Friday March 25th

2011-03-20T19:38:00.000-07:00

A fusion of traditional southern soul and funk-inspired power, all layered with furious harmonica lines that simultaneously tie the group together and threaten to unseat it all in one sweep... As if the warm familiar melody of rootsy porch music has been plugged in and turned up: The Delta Saints are driving listeners from the comforting recline of their porch swings right to the edge of their seats.

It's the unsettling sound of strength. A strength fueled by talent and bridled by a passion to relate to another that catches the attention of passers-by with its language-like quality. You can hear within it a conversation between five men able to speak to one another through their instruments.

The essence of the Midwest and the bayou work together to make a sound unique but befitting of Nashville. And the energy that sweats from this gritty howling dynamic is a message heralding love and loss and consequence. And though the songs may end, the intensity generated from the act of something old made new again will hauntingly remain.

Sunday March 20th 10 Years

2011-03-15T09:19:00.000-07:00

THE STORY OF 10 YEARS

Jesse Hasek – vocalsRyan “Tater” Johnson – guitarLewis Cosby – bassBrian Vodinh – guitar/drums

The members of 10 Years might not have used the word crossroads when they began the making of their newest Universal Republic album, but all would concur the wolf was at the door. Figuratively and literally – agree frontman Jesse Hasek and bassist Lewis Cosby; Fighting off the most unforgiving of predatory assaults that comes with the territory of a respected, veteran band like 10 Years who bears the scars of every battle won or lost along the way.

The close-knit members’ core creed has always demanded they set their own standards – answering only to their collective challenges as a band, wolves and industry naysayers…be damned.

The difference this time is they called on all their might. And more than a little wisdom.

The aptly titled result – Feeding The Wolves – thunders out from their storm-charred legacy as the heaviest album they’ve made in nearly a decade, a gift to loyal fans long promised darker hues from the Tennessee band, and maybe a much needed ‘opening’ for a rock world starving for some kick-ass direction, of late. Ominous songs such as “Shoot It Out,” “The Wicked Ones,” and “Now Is The Time” sound and feel as if they can stop bullets, spreading the kind of musical shards and shrapnel that only a band in peak, 10 Years’ condition can deliver.
“I’ve enjoyed every album we’ve made for different reasons,” says Jesse. “We never want to make the same record twice, but this one started with a kind of aggressive edge and ended with that same energy that really felt special. We worked hard not to take that ‘edge’ off. We kept the integrity of the songs by keeping them aggressive.” Lewis seconds the notion: “We’ve been saying for years we wanted to get back to a heavier, darker sound and then by the time we’d go into the studio, things would change. This time nothing changed. There was always that kick-ass feeling in the room, coupled with some things we haven’t done before.”

Producer Howard Benson (Seether, Flyleaf) was chosen to helm the proceedings, another integral component to locking down the 10 Years magic that had made them one of the world’s most enigmatic live and studio bands. “He understood where we were at and where we wanted to go,” says Lewis. “He was perfect for this ‘big’ sounding kind of record,” states Jesse.
Ironically, both Jesse and Lewis also cite the ‘drift’ after 2008’s prophetically titled Division - an album that was made after nearly two years on the road – as another factor in the path back to 10 Years’ reclamation: A trial by fire and those not-as-obvious corrosive elements that can whittle away at a band’s interior compass. The entire period became emblematic of the push-and-pull going on within 10 Years, truly a band that was stretched to its limits. “I think every band who has some success goes through it,” says Lewis. “But there were days after a show where I’d actually wonder ‘was this our last?’ We went through all kinds of changes during the Division cycle. Personnel changes, management changes – a lot of negativity rippling through our camp. We even made that record outside Seattle where we ended up only feeling more disconnected. We eventually decided to take some time away and get some perspective.”

A clean break can be cathartic – but never a guarantee that the players will reconvene on the same page. The band promised themselves before gathering for this album that getting back into that rehearsal room with their collective ‘headspace’ intact was priority number one. “There was just a feeling in the air that we were going to come hard on this one,” says Lewis. “We even gathered 3 weeks prior, in a rehearsal space in L.A. before we were scheduled to record, which was unusual for us. The fire in the belly was back.”
And as fate would have it, inspirational flames were also heating up the 10 Years furnace courtesy of the rehearsal room next door. “They probably don’t even know what it meant to us, but Rage Against The Machine was playing in the room next to us,” says Jesse. “We could just feel the sound coming out of the there. You have to understand, they, along with bands like Metallica and Nirvana and the Deftones were what we grew up on. To hear them killing it like that – I know it affected us.”

Lewis says the enthusiasm was palpable. “We were like kids, saying “’God, did you just hear that?’ I realized everything that was coming out of them was so riff-heavy. Our album was heading in that same direction. It was like a sign. We were so pumped. We arrived in LA with songs already written, yet here we were, so inspired, I bet we wrote five more in there that ended up on the album. We were on a mission on this one.”

A communal slugfest that also ended up being their most collaborative effort. “The way we write has always been an open door,” says Jesse. “We just kicked it down this time. Brian would bring in a guitar part, or I’d have some verses, but we were more methodical. We even went down a lot of avenues that didn’t end up on the record, but we went down them all together.”

Such crucial threads are pulled tight on songs like the bristling “Shoot It Out,” fanning the ‘feeding the wolves’ premise that came to represent some of the band’s ferocious themes on the new album. “We’re not just talking about the stereotypical ‘wolves’ in the music industry,” says Jesse. “Everybody on the planet has bigger dreams than just sitting around waiting to die. Sometimes you have to put yourself on the line for those dreams. You are out there – but so are the ‘wolves’ waiting to feed.” “And they can bleed you dry,” adds Lewis. Jesse confirms it was easy to work on that song as a band because the group was so in sync with the motivation behind it. “We’ve been through the ringer, where if you give people an inch they will take a mile,” he says. Another song that throws down the 10 Years gauntlet is the impenetrable “Fix Me.” “I think it’s going to be one of the songs that grabs people from the start,” says Lewis – fueled by lyrics that just may be slyly revealing the 10 Years hidden-code: ‘I’m fine in the fire/I feed on the friction/I’m right where I should be/Don’t try and fix me…/
If there has ever been a band comfortable about being appreciated solely on its merits – about being accepted ‘as is,’ that band is 10 Years.

Ever since 2001, when the group replaced their original vocalist with Jesse Hasek, 10 Years seemed to sense that being armed with signature sound and fury would eventually gain them one of the most loyal audiences in rock. In 2004, they released the indie missile Killing All That Holds You, featuring the now-classic “Wasteland” and “Through the Iris,” and netted them their major label debut with Universal Republic. Their acclaimed 2005 effort, The Autumn Effect, snagged them massive radio and video play, established their rabid audience, and handed them prime touring spots with bands such as Disturbed, Breaking Benjamin, Mudvayne and Sevendust. Later, torrid live-runs with Linkin Park, Korn and the Deftones, further cemented their reputation as one of the most credible live acts of the decade.

Division arrived in 2008, with the aforementioned trials mentioned by Lewis, and a baptism via rock n’ roll bullshit that might have annihilated lesser bands. “No need to go into it,” says Jesse. “It’s why I take my little digital recorder around. I’m always observing, always getting ideas. I find a corner and get ‘em down on tape. If I’m lucky, they sometimes blossom into songs.”
Known as a wordsmith who can hang with the best of them, but for also leaving room for the listener to interpret his riveting observations wrapped around the
scorching guitar treads of band co-founder Brian Vodinh, Hasek has also been humbled by simply being around his first child.

“Change isn’t always bad,” he says. “Most of the changes we have gone through have made us better people and a better band. The band-part takes all of us working hard to make the kind of music we know we are capable of. I think we did that on this one.”

Lewis says it was all about coming to the same conclusion without making any pronouncements. “It’s the most cooperative thing we’ve ever done by far. It’s like we all had the same epiphany without really having to talk about it too much. You’d be cheating yourself if you don’t sit down and listen to the entire album. We left it all there for everyone to hear.”