ARTIST OPPORTUNITIES at: *Branding benefits of social media for

March 2013
INDIE TIPS
ater
Dream The
ppice
Carmine A
ture
Poetry fea
nt
Radioluce
Reviews
Founder Christy Petterson
explains how I.C.E
exposes artists
Bryan Collins Art
A RTIST OP P OR T UNI TI ES at :
*Branding benefits of social media for musicians
*Interview with visionary of World of Art Showcase
/ index /
How does artist Bryan Collins find clients?...................page 3 Interview: Carmine Appice on secrets of becoming
a one-man dynamo in the music business..................page 16
Branding benefits of social media for musicians..........page 4
Puscifer: Donkey Punch the Night review..................page 21
“Nails and Picks” art by Cyan Jenkins..............................page 4
Iceage: You’re Nothing review........................................page 21
How I got into THAT band: Dream Theater....................page 5
Phinehas: The Bridge Between review........................page 22
NAMM: what’s in it for indie musicians?.........................page 6
Deftones: Koi No Yokan review.......................................page 22
How Atlanta’s I.C.E. offers indie crafters exposure........page 9
Andrew Cooper’s “Burning the Middle Ground”.........page 23
Poetry: Chansonette Buck’s “blood oranges”.............page 12
Radiolucent’s Mike Cowan speaks.................................page 24
Interview: Visionary of World of Art Showcase...........page 15
/staff/
Want to contribute or advertise?
Email [email protected]
Ellen Eldridge
Russell Eldridge
Victor Schwartzman
Ryan Meriwether
David Feltman
Editor in Chief
Music Editor
Poetry Editor
Graphic Designer
Film Editor, staff writer
/contributers/
Danielle Boise, Jeannie Caryn, Bryan Collins, Ellen
Eldridge, Russell Eldridge, G.L. Giles, David Feltman,
Marc Lawson, Cyan Jenkins, Rose Riot,
Victor Schwartzman, Kelleye Troup, Page Allen White
ii
March 2013
Artwork of
Bryan Collins
By Ellen Eldridge
Bryan Collins’ eye-catching art caught the editor’s eye back in 2008
when it was first featured in Target Audience Magazine. I contacted
him to ask how he has adjusted his career and what works for him
to network, find clients and build his brand. I have about three of
his original pieces in my home and office; I love the bold colors and
expressive emotions apparent in both his more real-life images as
well as the often abstract ones. Collins has quite a way of making the
abstract seem mundane and vice versa.
Of his efforts at maintaining a career as an artist, Collins says:
“During 2012 I spent a little extra time working to diversify my use
of social media. While Facebook is still a giant for online communication, I've had a surge in exposure from things like Instagram, Twitter,
and Google+. I've paid extra attention to my blog and loaded more
files to online print shops such as Society 6, Imagekind, and RedBubble. It's a great deal of extra work and takes time away from actually
making art but after all the time that goes into creating, it's important to put time into making sure people will see what's been made.”
“As for the art itself, I'm focusing more on colored pencils. It's a niche
medium and has had exhibit limitations in regards to shipping glass
and frames, but after my wife's suggestion to try colored pencil on
wood, I've come up with a combination of materials and techniques
which allow me to create vibrant, clean work on a durable and archival surface. I've been working with a lot of nautical themes since
moving to Saint Augustine, FL. I've always pulled
influence from the ocean but now that I live by it
again its power over me is greater than ever,” said
Collins.
Find more of his work and follow his blog at
http://www.useeverycolor.com/
3
The Branding Benefits of Social Media for Musicians
Kelleye Troup is an independent social media consultant
you can find on Facebook.
You must establish an organic connection built on
engagement to build your brand.
Social media adds a whole
new aspect to getting the word out!
Make your page engaging by sharing some of your
personal self with fans, which will encourage them to
buy more of your music, more tickets to your shows
and more of your merchandise because they will
genuinely want to support you.
Since the time of Pompeii people have been spreading
the word by means of writing on walls!
The Internet allows for advertisement from one’s mind
through the fingertips, and immediately in front of your The number one rule of social media
target audience. An estimated 150 million people use
for musicians is to make sure your
Facebook and 190 million people use Twitter, so
communities and friendships built online can merge
profile always looks fresh.
into real connections for those making the most of
social media.
If you don't update your profiles regularly then you
will give your fans or anyone else checking (promoters,
For people in the entertainment industry, social media publicists and labels) the impression that you don't
are powerful tools to keep a connection to fans and have much going on in your music career.
to build a fanbase. Fans turn into friends through the You definitely won't give visitors the notion that you
strength of the online connection, and this builds your have an active online community that they really need
brand. People will listen to something that their peers to be a part of or that would benefit the label to have
have recommended before they listen to something you as part of. A stale, abandoned profile can actually
that mainstream has recommended, and via social me- hurt more than not having a profile at all.
dia tools friends see literally what others stream or post
videos of.
Maintaining a solid presence on your social media
accounts will help keep your fans engaged, and will
You may have started a social media profile with the build your fanbase in the long run, which is what you
goal of selling more of your music, more tickets to your want promoters, publicists and club owners to see
show and more merchandise, but if you push sales too when deciding whether or not to give your band a
much your fans are going go away in a hurry.
chance.
4
March 2013
How I got into THAT band...!
If you want to share your story of how you discovered
that band or artist that influenced you and helped you
define yourself during your formative years or
after--email 500 words to
[email protected]
Dream Theater:
by Russell Eldridge
After spending my youth playing guitar to the first four
Metallica albums, and diving into the darkest and sickest
death metal bands I could find, like Morbid Angel, Cannibal Corpse, Death and Obituary, as an18-year-old guitarist for a band called Purgatory, I accepted my impression
with Dream Theater.
Though early on I could hear technical prowess from
Dream Theater guitarist John Petrucci, in “Pull Me
Under,” the band’s big hit at the time, I didn’t know
enough about guitar playing.
Years later, one my co-workers suggested that I take a
closer look at Dream Theater because he was spending
hours looking through the Images and Words tablature
book. I took his advice and it was over for all other guitar
players in my eyes, though I didn’t realize it yet.
I started spending hours playing various tunes, but I also
tried songs from the Awake album. I still didn’t know
what I was doing; I only read tablature (not sheet music).
Attending the Atlanta Institute of Music gave me sharpened skills and the tools needed to keep learning.
The more I learned about music, the
more I appreciated Dream Theater.
art by Miles Tsang
http://www.milestsang.com
Dream Theater’s sound cannot be judged by listening to
one album. Some say Petrucci is too over-the-top, and
that all he does is play fast, but songs like “Another Day,”
“Surrounded” and “Learning to Live” contain melodic
and memorable guitar passages that aren’t very fast.
Yes, Petrucci can break sound barriers if he chooses to,
but he does so with taste.
It may have been a coincidence or it might have something to do with the addition of Mike Mangini to Dream
Theater, but the most recent release, A Dramatic Turn Of
Typically, once one starts to hone skills on an instrument, Events, is one of the best albums compositionally in the
radio-friendly music seems too predictable and trite. band’s discography.
Hence the music snob is born.
Since 1985, the guys in Dream Theater have written
Petrucci’s guitar playing filled Images and Words with
great music without being repetitive, and, though it
more colorful chord work than on any other album I had took a while, I fell in love with Dream Theater because
heard, which makes me wonder if he wrote while attheirs is the very definition of musicality in my eyes.
tending Berklee, where he met his bandmates. The followup to Images and Words
Russell Eldridge teaches guitar locally and
showed similar chord work, but Petrucci
online via www.RussellEldridge.com
starting using blues-flavored double-stop
5
licks, and he also plays a seven-string.
What’s in it for the indie musician?
By Jeannie Caryn and Marc Lawson
“Be an animal! Do it all,” said Kyle Morrison of the NAMM show was honored with the appearance of music
band Triphon, self-described as “a Euro-American melodic icons Elton John and Stevie Wonder, as well as rockers
metal blending elements of power, thrash, classical and like Nikki Sixx and Boston this year.
metalcore.”
Going to NAMM is all about “making connections and get- WHAT CAN THE INDIE ARTIST GET OUT OF GOING?
ting yourself in front of the right people,” Morrison said.
“If you’re looking to make a connection with the
The NAMM show is an annual trade show and convention artist relations director of a gear company, here’s your
that descends upon Anaheim, Calif., each year. It’s THE chance,” Craver said. “Just walking up and introducing
place for music equipment manufacturers to showcase yourself is a great idea.”
their new and upcoming products, often with the help of
celebrities and music industry leaders. According to the He suggested that, “An even better way to take advanorganization, the mission of NAMM is to “strengthen the tage of NAMM would be to actually perform during the
music products industry and promote the pleasures and show,” and he recommended offering to be a ‘demo’ artist
for a number of different brands.
benefits of making music.”
Singer-songwriter Peyton Parker, a former Atlanta artist
who recently relocated to Nashville to pursue her career,
said that her favorite part of NAMM was “being able to
interact with people who are as passionate about music
as I am. It’s really great meeting people who have
David Craver, musician and president of OpenMic.us, said dedicated their whole lives to helping independent
artists like me.”
that attending NAMM is a business venture for him, an
opportunity to meet and network with musicians,
vendors, and other business owners – folks that he will call Atlanta musicians Marc Lawson and Jeannie Caryn share
after the conference to share ideas and pursue business their perspectives on three important reasons for indie
artists to consider hopping on a plane to L.A. next
opportunities.
January – networking, new products, and sponsorship
opportunities.
“The NAMM Show brings the ‘top brass’ from all of the
major gear companies together in one place,” Craver said.
NETWORKING
For the independent artist and anyone involved with the
Marc Lawson: As a songwriter and composer, my
music industry, Craver agreed that NAMM is the place to
primary reason for going to NAMM is networking. Sure,
be.
it’s nice to hear about the latest gear and see some
One look at the thousands of people strolling around the celebrities, but those things aren’t going to help my
Anaheim Conference Center during the convention con- career as much the relationships I cultivate at the show.
firms that it is indeed the place to be for all types of music
industry folks, including artists, vendors, business owners, This year, the highlight of my NAMM experience was
attending an annual event with an international group
media representatives, software engineers, business
of musicians who work in the film and TV industry. The
associates and industry agents.
dinner was sponsored by the good folks at SCOREcast
Even celebrities attend and can be found roaming
Online, and about 50 composers, musicians and other inthrough the crowded maze of product booths. The
Morrison has been doing it all and attending the annual
conference since 2006. He now attends as a sponsored
artist for Casio, performing demos and showcasing
products during the conference.
6
March 2013
dustry professionals from all over the globe attended.
The best part of that event was simply being able to
talk with so many people I had previously only known
online - folks from Germany, the UK and other distant
countries. Even in this digital world, nothing beats an
old-fashioned (analog) handshake and meal shared
among friends. The value of an event like this is staggering – I now have a network of colleagues across the
globe that I can reach out to for career advice, questions, or even project collaborations.
Jeannie Caryn: As a singer-songwriter, attendance at
NAMM two years in a row gave me the opportunity to
make invaluable contacts from all over the world in all
areas of the music industry—some of these contacts
could be potential sponsors and others who are now
new friends.
I’ve met musicians whom I now can stay connected
with to expand my music community and share in
music, ideas and opportunities. I never would have
met a composer from Germany or made friends with a
drummer from Tempe, Ariz., had I not attended.
The conference exhilarates the soul, inspiring new
thoughts and direction for the solo artist.
NEW PRODUCTS
The best and latest instruments, software and gear –
everything from PA systems to guitar picks – are available and on display at the NAMM Show. Press conferences are held throughout the day, product demos
are provided top artists, and “how to use” seminars are
offered by software companies like Avid, MOTU and
MakeMusic.
We caught up with Morrison as he demoed the new
Casio Privia Pro PX5S Keyboard, a 24-pound, digital
stage piano that will be available for sale in April.
ScoreCleaner is an innovative new program geared
toward writers and musicians who lack formal training
in music. Using ScoreCleaner, musicians can play or
sing their tunes into an iPhone or iPad, and the software will produce a legible and accurate
score of their tunes – in the correct key and at the correct tempo.
Jazz guitar legend Stanley Jordan and America’s Got Talent finalist Taylor Mathews celebrate the
U.S. release of ScoreCleaner at NAMM 2013.
ScoreCleaner is the first-ever instant plug and play notation software, revolutionizing the way music is scored,
shared and played.
Left to Right: Mark Hiskey, president of ILIO, Stanley
Jordan, Taylor Mathews, Sven Ahlback and Bengt
Lidgard, founders and creators of ScoreCleaner.
“ScoreCleaner is the first-ever instant plug and play
notation software, revolutionizing the way music is
scored, shared and played,” the press release said. Jazz
guitar legend Stanley Jordan and America’s Got Talent
finalist Taylor Mathews celebrated the U.S. release of
ScoreCleaner at NAMM 2013.
NAMM can offer an artist new insights about equipment that can enhance performance and recordings.
Everything from microphones, computers, guitars,
amps, PA’s and cables; the latest and greatest in
technology are on display at NAMM.
7
Morrison visited the Casio booth
and played for hours until every
Casio representative at NAMM knew
him or knew of him.
SPONSORSHIP OPPORTUNITIES
At each booth, representatives are on hand to discuss
each guitar, violin, or drum, and an artist has the
opportunity to play everything on display.
Morrison told us that in the early years of his
conference attendance, he would visit the Casio booth
and would sit playing and for hours until every Casio
representative at NAMM knew him or knew of him. He
also talked to them about his band and handed out
copies of their CD. Since they liked what they heard,
they eventually approached him about sponsorship.
But be warned, Morrison said that the process of
becoming sponsored by Casio took years. He recommends spending time as he did, just meeting people
and playing in front of as many people as possible.
Ultimately, it’s all about relationships and who you
know.
GETTING INTO THE SHOW
But just how can an independent artist obtain a pass
to the conference? Unless you are employed by a
music equipment manufacturer, or a buyer who
purchases from a manufacturer (think Guitar Center),
you might not be able to get in. The show is very
clearly labeled as “not open to the public,” and they
mean it.
Kyle Morrison, photo by Marc Lawson
Bands perform all day and all night long during the
conference on stages in nearby hotels like the Hilton
and Marriot and on a stage right on the Anaheim
Convention Center grounds.
There’s almost as much to see on the outside of the
NAMM Show as there is on the inside: Fashion, food,
drum circles, random performances by musicians,
visits by celebrities and more all happen just outside
of the show.
Making connections as a musician is quintessential
to success, and a hungry artist should make connections everywhere; outside of that convention center in
So, if you want to go, you’ll need someone from one of late January, there are many, many connections to be
these companies to sponsor you.
made.
Goal to have for next year: Find a sponsor!
So who knows? If you go to LA, one of the connections you make just might offer you a pass to the
But if it doesn’t work out, don’t let not having a pass to show the next year. But if you don’t go, nothing will
the NAMM Show keep you away from LA.
happen.
8
March 2013
Make money crafting through exposure at Atlanta’s premier craft
By Ellen Eldridge
Put your creativity on ICE –
While your mother may not have been a crafter, your
grandmother possibly was.
Atlanta has a rich and inspiring market of artists and entrepreneurs, and the Indie Craft Experience exists to help
the best of the best in the crafting world gain exposure
and new opportunities to sell to more people – This ain’t
your momma’s craft fair!
Our contributing photographer and reviewer Rose Riot
covered the Holiday I.C.E. show and listed the top ten
choices for Black Friday online purchases to show support for indie artists.
“I have always been in to crafty events,” Riot said. “My
grandmother used to decoupage candles to sell at her
church bazaar so I always thought making things was
cooler than buying things; buying handmade things was
cooler than buying things from a regular store.”
I.C.E. brings together crafters in a similar fashion to the
church bazaars that your grandmother may have been a
part of; founders Christy Petterson and Shannon Mulkey
envisioned an Atlanta-based opportunity for the growing body of independent crafters to sell and promote
their wares not unlike the opportunities available in
markets like Chicago and Austin.
I.C.E. founders Christy Petterson and Shannon Mulkey
“I think that they had to separate themselves, but we’ve
been able to swing back,” she said.
Petterson feels that society has gotten to a point culturally when women and all crafters can take pride in the
great skill it takes to bake a pie or make items by hand.
The fun and creativity can return now that society can
recognize the true skill it takes to be a crafter.
Petterson and Mulkey both started as crafters, but now
“We met at a small craft market at Youngblood Gallery, have less time for their own creations.
and from talking to each other we could tell there wasn’t
anything in Atlanta that had the right aesthetic for the “Ironically, now that I.C.E. has taken over we don’t have
kind of stuff we were doing,” Petterson said. “Atlanta has time to make anything ourselves,” Petterson said.
a lot of great artist markets, but they weren’t the right
scene for us.”
Shows:
“We have the same shows every year but in the past
The topic of changing times and why crafting is becom- two years we’ve increased the number of shows,” Peting more popular now than in our parents’ generation terson said.
can keep conversation rolling at any modern craft market. Petterson believes that many women of the Baby The original shows are the summer show with all handBoomer generation felt it was important
crafted items and the holiday show that
to establish that they weren’t tied to
takes place the weekend before Thankswomen’s work, and could get out in to the
giving.
workforce.
9
They’ve now added Wedding Day Hooray, which involves all hand-made items as well as local services for
planning a wedding. This show is always in February,
usually around Valentine’s Day.
“Salvage is our vintage show, and last year had such
a great turn out that this year we’re doing it in the
spring and the fall,” Petterson said.
Being at the market is a great way to get exposure and
talk directly to shoppers. Every crafter gets a link from
the I.C.E. site to his or her own site, which provides
added exposure,” Petterson said.
Swag bags give crafters an additional opportunity to
provide between 100-500 pieces of promotional
material like business cards, sale flyers or coupons.
The past two years I.C.E. put on a popup shop during
the holiday season, inside Criminal Records just in the
back of their store.
“That’s a different setup for us because we’re selling
the stuff on behalf of the artist, which is nice because
we can work with artists all over the country,”
Petterson said.
In 2014 I.C.E. expects to open an online store that will
be open all the time, but in an attempt to get their
feet wet, the founders will host a series of popup
shops starting in March, where items will be available
online for three weeks.
10
May’s online popup shop will showcase art prints from
the many illustrators and artists that ended up working with I.C.E. over the years. By October, the popup
shop will spotlight craft-making supplies and will
hopefully get people excited about the gift-giving
season.
So what does it take to be accepted into a show?
The application process isn’t as easy as it may seem,
and as the competition has increased, acceptance into
I.C.E. has become steadily more rigorous, especially in
the holiday market, where many crafters are turned
away.
“We ask crafters to describe their craft, but the most
important thing is the photos, Petterson said.” “Ninety
percent of the decision is made on the photos. We’re
looking for things that are aesthetically interesting.”
Petterson provides sound business advice that crafters
as well as all entrepreneurs can take seriously:
“Photos are so important no
matter what your business is,”
Petterson said. “You want people
to be really excited about your
product; it costs more money
when you’re first starting out,
but it’s really crucial to invest the
money in those photos.”
March 2013
One thing a great photo will capture is that the
3 tips to make money in a crafting career
products are well-made items. Quality is really important for acceptance into the craft shows, and Peterson
and her partner know customers can tell when someMake connections:
thing is made well.
As a grassroots organization, I.C.E. has worked with
relationship building. They’ve done shows all over the
country and always took the time to network with
those in the same field. They always look for people
and organizations in Atlanta to work and partner with.
“We like to work with other small organizations on
cross-promotion,” Petterson said
A business plan? Dedicated budget?
“We live in an amazing age of Internet social media.”
When she was younger, even in high school, Petterson
admits to having felt shy and nervous of possible
rejection when seeking potential buyers of her crafts.
Now, the daunting anxiety of rejection is lessened when
trying to connect with buyers via email or social media.
The possibilities are broader with a great online presence –
it’s a free tool, use it.
Invest money:
One area where the founders fell short in beginning
their business was in planning and organization.
“Recognizing what you should invest money in and what
you can do yourself is really important.”
“We had no plan at all,” Petterson said. “We made
Petterson and her partner have hired a graphic designer
some stupid mistakes the first time, and it’s always
because while she could do it herself it “would take twice
a learning opportunity, where we learn from our
as much time and be half as beautiful.” It’s more important
mistakes rather than getting frustrated and quitting. to spend time working on what one can do well rather than
Planning hasn’t always been our strong suit, but we’re trying to do it all.
always full of ideas.”
Realizing when way too much effort doesn’t pay
off with success is an important aspect guiding the
events that are continued and when.
Build relationships:
In addition to online, always keep an eye out for other
crafters and organizations where you can help and support
Continually adding new ideas and thinking up new
shows and ways to promote independent crafters and each other along the way. Petterson feels that even when
entrepreneurs propels the Indie Craft Experience. The she and her partner are working “a crazy number of hours,”
having others to talk to who understand the business helps
next show, Salvage, takes place April 13 so apply at
keep them going in ways friends may not understand (if
ice-atlanta.com.
they aren’t crafters).
Products
11
Poetry feature - Chansonette Buck
By Vistor Schwartzman
S
ome poems are so in
your face with their message, you wish they would back
off. But some poems you wish would come closer—
they seem intimate but provide no explaining detail.
Political rant or vague reflection? Advocacy poetry or
literary poetry? Does the poem bring itself to you, or
do you have to bring yourself to the poem?
Chansonette Buck spent her childhood ‘on the road’
as stepdaughter of a Black Mountain poet, living all
over the American West, in England and in Spain. (Her
writing is available in various publications; her second
poetry chapbook, “desire lines,” was published by Crisis
Chronicles Press.) Her personal background informs the
poem “back then.” Do you think it was a delirious treat,
growing up with famous poets? Have you ever eaten
with a poet?
back then
i hated peter orlovsky
for touching me
in the back seat of the station wagon
on the way from santa fe
to taos
as we passed
camel rock for the second
time i
drowsed between
his body and the body of
my brother
allen and my parents
as usual in the front
it was a simple touch, sweet
on the shoulder
the kind of kindly touch one gives
a child who is tired and cranky
almost pity really
the child on the verge
of sleep, helpless
against the motor’s hum,
falling asleep in a rage.
12
The opening line
grabs and
immediately involves the reader.
At first, with the
‘touching’ mention,
you think Orlovsky
is being creepy.
But no, he is being
friendly.
Orlovsky is best
known as Allen
Ginsberg’s lover.
Ginsberg sits in
front, with the
narrator’s parents.
This car is a class
society:
The ‘important’ people are up front.
(Ginsberg is very
famous for one part of one poem. Few people have
read anything of his other than Howl, and fewer still
have read more than Howl’s first section.)
The patronizing, insensitive class society in the car is
not the point, nor is it that Ginsberg is the most unread
read poet in America. The point is that the five year old,
dragged all over the map, is “falling asleep in a rage.” Attempts to comfort her provoke the opposite response.
Orlovsky is showing “almost pity really,” but what this
kid really needs is a childhood.
This poem is easy to understand. “back then” is straightforward, reflecting the poet’s history and is styled
identically to the other poems in blood oranges, Chansonette Buck’s first poetry chapbook.
All poems in this review are taken from blood oranges,
published by NightBallet Press ($7; 123 Glendale Court,
Elyria, Ohio 44035; [email protected]; nightballetpress.blogspot.com.) The chap feels good.
Publisher Diane Borsenik assembles the chaps herself.
March 2013
Buck does not like capitals. She does
like short lines and crisp words. You
can feel her weighing each word,
placing it on the page just so,
occasionally creating an emphasis
by using a few blank spaces.
The cover photo is a close-up of desolate gravel on
which lay a pair of sunglasses and a drink container
(possibly containing blood orange juice.)
Blood oranges are not a happy-go-lucky fruit. They are
not yellow sunshine baubles of the orchard, sweet to
look at as well as to eat. Blood oranges are mutations
that don’t look like a “normal” orange on the outside.
Inside, they are a creepy red, and often taste often
bitter, not sweet. Yes, blood oranges are deliberately
misleading. Do not trust a blood orange. If there is
one fruit which should be kept from children, this is it.
Yet Buck named her first poetry chap after this devious
produce, but she only wrote one poem about blood
oranges:
blood oranges
left
the dishes
in the sink
the water
turned grey
left the blood
oranges on the counter
stained the counter
red left
the coffee
in the pot burned
the coffee dry
left
the ruins
of the day
ruins crumbled
into dream left
the dream, dream
subsided into now
left now
to the blood
oranges
Things do not appear to be going well at home.
Dirty dishes in the sink, blood oranges staining the
counter, coffee burned, the day itself awful. Like the
kitchen, the narrator’s life is a mess.
Once life was lovely, but those dreams crumbled and
have now shrunk into blood oranges, which stain the
counter, supposedly sweet oranges which are bitter and
look like bloody death.
This poem creates atmosphere. You know it is about
something, but what?
You’re asking the wrong question.
What is important is the creation of a moment, a feeling, reflecting a person’s life. Part of what makes poetry
different is that a poem can go for the moment while
explaining nothing.
A poem can be about feeling regret for something
never revealed or explained.
Buck quite possibly named her whole chap after blood
oranges because many poems reflect the whole bitter/
sweet blood orange deception—a life which should be
sweet is bitter.
Critics like to fit art into slots, it makes it easier to write
about them. Buck’s poetry fits into no slot.
“Literary Poetry” is pretty much what it sounds like—
poems concentrating on lovely language, not harsh
reality. It is unfair to say such poems are academic exercises, and this reviewer feels bad already, but beautiful/
haunting/heartwarming words and images feel pointless without content. Buck shares with literary poetry
the use of spare language. Does she share its frequent
lack of meaningful content? No. Just because there are
no details does not mean there is no content. There is
plenty of content, but it isn’t for sissies. It is a different
type of content, and you have to ask the right questions.
You must bring yourself to this type of poem.
occluded memory
I
what you first
thought empty water
is a swarm of fish: first
a ripple, then
a flicker of fin,
One hour has gone by, forever for the person on the
ledge, but a short time for the narrator. However, the
person on the ledge apparently (SPOILER) would have
waited forever for the narrator, whereas the narrator is
almost impatient (jump!).
a long body,
a swarm… up
from the black
depths, to feed
among the rocks
in the sunlight
in the shallows
at the pond’s edge.
II
the speculum opens
on a rancid tampon
jammed
against your cervix, oh!
you think, so that’s
where that smell
came from.
First the unexpected flow of wildlife in water, then the
wildlife in you, which turns out to be blocked by a rotting tampon whose smell you’re in denial about. Time
for a shower.
Why occluded memory? Occluded means ‘blocked’ and
it’s gotta count for something that this poem features
a stuck tampon. There are a lotta fish flowing outside,
inside’s been non-flowing for a long time. And there’s
been a rancid smell, but you’ve ignored it. Symbolically
or allegorically, the fish rushing to the surface could be
a blocked memory/experience being unfreed.
Or, maybe it’s about creativity being blocked by a bad
memory/experience.
Or what if the womb is associated with opposites:
growth (the fish) and repression (the tampon.)
The tart “so that’s/where that smell/came from” is playful and pointed, very much in-your-face, which, since
it involves a smelly tampon, is problematic; an offhand
remark. The tampon is blockage. Now that it is gone, it
does not look as if the memory will be less occluded.
Those last lines say it all about the narrator’s attitude.
Since we’re pushing things to the brink, why not stand
on that edge. In parapet the narrator speaks to someone standing on a ledge (or herself ). Emptiness and
concrete (or something else bad) are below. Back to
the sky, the person faces the stone (building) (pedestal)
(sacrificial alter).
Is jumping involved? There is a ledge, but the jumping could be physical or metaphysical. Interpretations
are open. Perhaps this isn’t someone standing on a
ledge waiting to jump at all. Perhaps it is about lovers
breaking up. One stands outside the apartment door,
ready to jump, to leap away, the other inside, watching.
Perhaps the person outside wondered if she was truly
loved. Perhaps insecurities drove them apart, in which
case, the final response is ironic.
OR this poem could be about something else.
Can you bring yourself to this poem?
parapet
you stand
on a parapet
lean
against the stone
your back
to the sky
ask:
how much
older
are you now?
as if
centuries
as if
lifetimes
one hour
i say
just one…
how long
would you
have waited?
forever
you say
forever
14
March 2013
Interview with the
World
World
of Artof Art
Showcase
Showcase
visionary,
and COOCOOof Jerry’s Artarama,
David Goldstein
By Ellen Eldridge
Instead of asking for background for our readers, since
most of our readers are independent artists trying to
make a successful career out their passion for creating,
What is your “elevator pitch” for The World of Art
Showcase in Las Vegas?
Art is the mirror of humanity and this show puts forth a
massive display of the finest works of contemporary artists.
It's aim is to make stars of fine artists and to connect with
the viewer about the power of art.
What makes great art and what makes a great artist?
What makes a “professional” artist in your mind?
A great artist is a free thinker. With all the homogenizing of
society, with all the rules set upon us and the
patterned programming of government and big
business, free thinking itself is an art.
Great art communicates to either your left or right side of
your brain. It is translatable to the viewer and has the ability
to transform or renew vision and belief.
Art by Lauri Blank
What do you see as the biggest problem truly talented artists have with reaching a fan base that can and
will pay them for their art?
A comatose society that can't distinguish reality from illusion. What is needed is a new way of thinking, a New
Renaissance to awaken what is innately part of the human
genome. The World Of Art Showcase is just a small part of
this awakening process. I am sure that given the opportunity to see really good art in mass scale will enlighten. So we
need big events like WOAS in fine art to wake up society and
notice their hunger to feed their soul.
What advice do you have for an independent artist,
one not aided by a publicist or publisher, to brand
him or herself?
Be as outrageous as you can no matter what your style and
to get people to notice you. To believe in yourself and not
look value monetary success as success. Getting people to
hear or view your art is success. Carry business cards and give them out liberally. Film
YouTube pieces. Show up at big events that
15
the media attends and do your art. Spread the word
that the arts are clearly the only thing that separates
us as human beings from the rest of the planet. Spread
the word that being an artist is not necessarily paintings, drawing, music, dance, film, prose, poetry and
theater but the passion of life itself which can extend to
all aspects of one's life.
Do you think nonartists can appreciate art? Do
people need to appreciate art for an artist to be
successful?
As previously stated there are no non-artists. Just those
that are comatose. How else can you explain the fact that
we allowed in New York City 32oz soft drinks to be banned.
To allow ourselves to be scanned at airports so some government worker can see us nude and that we allow spending
on billion dollar planes and tanks that are out of date while
people starve or remain homeless.
Aside from the artists included in the World of Art
Showcasee, who are some of your favorite independent artists, and do you appreciate any musicians or
poets because of their connection to fine art?
This would be unfair as I would leave out too many artists.
It is infinite. Just go on the Internet and you can find thousands of talented artists. John Lennon was an artist too. I'll
leave it at that.
er
R Gig
Art by H
What do you think about the idea that some individuals can become so personally attached to their work
that they don’t want to sell it cheap if at all; should
artists price art according to what it means to them or
should they think more in strategic economic terms?
I believe originals should always be priced relevant to the
time and quality of the piece. That being said it would be
a good idea to do girclee prints hand embellished or not to
offer to the public at a good price their images. Originals
can be set at any price and the market will buy them or not.
Prints can keep you fed. I don't think any artist should ever
give their art away. In fact it is the selling of art too cheaply
that reduces it value in the minds of society.
www.worldofartshowcase.com/
March
2013
s
16
Ar
k
eon O
t by L
Art by Andy Russell
Art by Ces
ar
Santos
17
Interview with ­­­­­­­­­­­­Carmine Appice:
between the recording, the touring and the charities, Carmine Appice found a moment to
tell us the secrets of becoming a one-man dynamo in the music business.
an Interview
by David Feltman
You may not have heard the name
“Carmine Appice” before, but
chances are you’ve heard his work.
For nearly half a century the award
winning musician, producer, author, teacher and philanthropist
has released countless records with
over 20 bands and side-projects.
He’s worked with the likes of Ozzy
Osbourne Pink Floyd Ted Nugent,
Rod Stewart and Jeff Beck to name
a few. To put it simply, Carmine
Appice is one of the most accomplished and influential drummers
still walking.
At 66 years old, Appice’s incessant output puts the young’uns to
shame. Appice has a vast assortment of peers and friends to fuel
his all-star projects like Cactus, King
Kobra and Guitar Zeus. And yet,
between the recording, the touring and the charities, Appice found
a moment to tell us the secrets of
becoming a one-man dynamo in
the music business.
I’ve read that you were the first
rock musician to organize instructional clinics, is that true?
What motivated you to start doing clinics?
Yes, that is true. It was Ludwig Drum
Company that kept hounding me to
do it. When I was in Vanilla Fudge
they kept asking me to do clinics and
I never did. I was like a pop star in
Vanilla Fudge. But then when I was in
18
Cactus, I started thinking about it.
I wrote a book titled “Realistic Rock”
which became a big hit and the
reason why I wrote the book is because I had seen some books in the
music store, that were supposedly
rock drum books, but the authors
had nothing to do with playing rock
drums. Once I wrote it, the drum company said now that you have a book,
you should be able to go out and
do clinics and sell the book so I did
one at Sam Ash in Rhode Island and
I liked it. We had 250 people there.
Then Ludwig started booking me and
I was their main modern clinician
because no one else did it. I found out
later, was the first rock player to do it.
March 2013
Between Little Kids Rock, the
drum clinics and even SLAMM,
you seem to spend a lot of time
aiding younger and less experienced musicians. How has that
sort of mentorship benefitted
you?
With SLAMM, it was good to see new
people in the business – the excitement of seeing them going through
the motions of making and playing
big stages. It was always something
that was exciting to see young people
get involved in the music business.
One of our SLAMM members, Veronica, ended up playing with Jeff
Beck on some shows. With that kind
of thing, it makes me feel good to
help someone get into the business
You’ve amassed an incredible pool of associates in
your 40-year career. But have you ever found it difficult to find talented musicians for your projects?
With Little Kids Rock, it’s a whole different thing – it’s an
actual charity. It’s more like helping kids in the school. It’s
not about them making it in the business – it’s about them
playing an instrument, watching them begin to play and
getting into music. It’s a good feeling to me to do that.
Glancing at your discography, it doesn’t look like
you ever slow down. How do you maintain such a
high output?
I don’t know, I guess I’m just from Brooklyn (laughs). I got a
lot of energy. Probably because I love what I do and I have
a passion for music, for drumming and for anything with
music, and when you have a passion for it you just love to
do what your doing and you keep pushing forward.
You’ve worked in other well-known musician’s bands
like Jeff Beck, Ozzy Osborne and Rod Stewart, but
for the most part you generate your own projects.
Do you prefer to be your own boss?
Actually, I would love to play with these other people. I
heard one time from Ted Nugent’s manager the reason
why I wasn’t playing with Ted anymore is that I am not a
side man anymore; I am more like a leader like Ted. They
told my manager one time that Carmine has his own
record deal, his own publicist, his own records - he’s like a
leader, not a sideman. So I think I brought it upon myself
to have to do that because you build your name up to a
certain point, and artists who are like solo artists say they
don’t want Carmine in my band because I am more like a
leader than a sideman. So that’s what I think happened.
I would rather be in a big band lead by someone else because to tell you the truth, I’m tired of being
the leader (laughs).
Not really. I never really had a problem finding people to
play my music. Even the Guitar Zeus project went a lot easier than I thought it would go. I had a lot of great names
offering to play. If I called someone up and asked them to
do it, they were interested and did it. A couple people didn’t
do it I wanted, but as a whole though, I had a really good
output of people. All the other solo projects like with Pat
Travers, we always wanted to play together. Me and Rick
Derringer wanted to play together so I never really had a
problem where I had to sit around and wonder who was
going to play with me.
Considering all of the amazing people you’ve
worked with over the years, what was it about Kelly
Keeling that inspired you to do the tribute album?
I only did one song. I did that song for Sandy Serge. She
called me and said we want to do a song that you wrote
with Kelly and Tony [Franklin] “Perfect Day” for this Kelly
Keeling tribute album and would you be interested in
doing it. So once we figured out what we were going to
call the band, we went into the studio and Sandy had an
arrangement with the singer Anthony Z’sler, as far as the
arrangement of the song, and put the bass on it. Then they
sent it to me and I put the drums on it.
That’s pretty much how it went down. I was a co-writer
with Kelly on the song. When I worked with Kelly on my
Guitar Zeus records, he was a brilliant songwriter, great
singer, great talent – guitar player, bass player, keyboard
player. The guy’s really a talented guy and I loved him like
a brother. We wrote some great songs together. We wrote
about 25 songs together for that Guitar Zeus project.
Perfect Day was really the only one that ended up on the
tribute album.
You were classically trained, how important do you
think formal education is to a musician?
It depends on what the musician wants to do. If he wants
to cut shows on Broadway or anything like that, they have
to get classically trained, to learn how to read music and
read shows. If you are trying just to be in a rock band, you
don’t have to be classically trained. A lot
of people that made it are not classically
trained.
19
Today, there are a lot of different avenues you can go. It’s
always better to have lessons. Classically trained in my
case is taking lessons for 4 years. When I grew up, I was
in all these school orchestras and bands. I never really
played in a professional orchestra, but I did have that
experience of doing that in junior high and high school.
When I joined Vanilla Fudge, I used that experience in
the drum parts I wrote for VF. My drums were considered
more like a percussion section in an orchestra than a
drumset.
Depends on what they’re doing. Some great drummers
aren’t great readers. Buddy Rich doesn’t read. Gene Krupa
didn’t read, but all the other guys like Billy Cobham and
Tony Williams, all the drumming greats that are around,
most of them read. Reading is good for, if nothing else, to
improve yourself. If a new book comes out, you can grab
it and go through it. If you don’t know you how to read,
you can’t improve yourself.
What advice would you give to a musician trying to
build a career in the music business?
I really don’t know what advice to give them except to
get a good band together and push all together to try to
make it. To make it today, I don’t know how the bands do
that. All I know is a band comes out and all of sudden,
their playing Madison Square Garden with no radio airplay or television exposure, and somehow they are selling
out Madison Square Garden. I really don’t know how they
do that.
To make a living in the music business, get lessons. If you
are a drummer, try to learn to play something else so you
can write songs, maybe write tv commercials. Just set
your goals and go for it. You have to be prepared enough
in your playing, in your chops, to be able to go for your
goal. If you want to be a session guy, you have to learn to
read. If you want to play on Broadway, you have to learn
to read.
In this business is it important to be selective
about what projects you take on or is it better to
keep an open mind and tackle as much as you can?
I always do projects that have a career benefit. If Joe
Shmoe called me up and asked me to do 3 songs for
$5000, I probably wouldn’t do it. But if Pink Floyd called
me up and asked me to do a track for $1000, I would do
it. The Pink Floyd one would be more of a career move.
I might on occasion do a project for a friend of mine for a
reduced rate. If you look at my discography, most of my
projects are pretty big name people or my own bands like
King Kobra or Vanilla Fudge or Cactus or DBA. I played
with Edgar Winter. I never did a recording with him, but
I played with him. That was a good career move and
whenever I played with him I got billing. It was always
Edgar Winter featuring Carmine Appice. If you look at the
length of my career and the discography, it comes out to
be really one or two albums a year which really isn’t a lot
versus somebody like Gregg Bissonette who is a session
guy who did 45 albums in a year. I do albums for career
moves.
www.sergemediagroup.com
20
March 2013
Puscifer - Donkey Punch the Night Iceage - You’re Nothing
Review by David Feltman
Review by Rose Riot
Ever the vessel
for Maynard
James Keenan’s
rampaging
musical id,
Puscifer entertains any and
all of the man’s
musical fancies.
While maybe
not consistent
with the expectations of Tool
and A Perfect Circle fans, Puscifer always offers an
intriguing glance inside Keenan’s head.
Denmark lads
Iceage play the
type of music
that transcends time.
If I were to
listen to them
for the first
time, knowing nothing
about them, I
would be hard
pressed to figure out in what year or even decade they recorded
their second album, You’re Nothing.
Donkey Punch the Night is an all-new collection of
fascinating whims and impulses. Opening with a
spot on (excepting a few vocal variations) cover of
“Bohemian Rhapsody,” this EP proves to be a menagerie of the beautifully bizarre and unexpected. To
accompany the Queen classic, Keenan adds a moody
cover of “Balls to the Wall.” Imagine The Cure covering
Accept. If you cant, don’t worry, Keenan did it for you
and then added a second minimalist techno version
that sounds like a Kraftwerk deep cut.
Iceage is punk. Not the kind of post, post punk that
became popular sometime in the mid-nineties when
“punk” started getting played on mainstream radio.
They are punk like bands that preceded them by 40
years. As I listened to their latest album, I could hear
influences of Black Flag on the song “Ecstasy.”
Original tracks “Breathe” and “Dear Brother” each
come paired with their own remixes and are typical Keenan fare for those familiar with his more
synth-rock, Robert Smith-loving side. The electronic
aggression of “Breathe” borders on trip hop, with
mantras like “The body has needs,” repeated until it
becomes another layer of bee-like drone and buzz.
It’s remix doubles down on the aggressive buzz,
turning those bees into angry robo-hornets. “Dear
Brother” sounds a little closer to an APC track and its
remix gives the song a Reznor-like face-lift.
This EP doesn’t feel like an album and never pretends
to be. Donkey Punch the Night is simply an assortment of free-floating ideas to tide over fans. If you’re
feeling a little hungry for Keenan-related work, this
strange and savory side dish just might
sate your appetite.
“Morals” felt like a Velvet Underground song, and
“Wounded Hearts” could have easily been recorded
by Lords of the New Church and “It Might Hit First” is
GBH all the way. Let us not forget, true punk music
was forged from American blues and rock and roll;
these influences are obvious on You’re Nothing.
Throughout the album you will hear broken down
bass chords that are used to prepare you for the
parts of the songs that hit you over the head with
angst. The drums sound tribal, while the guitar is
fuzzy and the vocals are desperate.
Never having been, I can only imagine what the
punk shows of Max’s Kansas City or CBCG’s heyday
were like, but I imagine what I witnessed at Iceage’s
show last year would be very similar. The crowd literally became part of the show as Iceage proved that
quality, youth and angst-driven music lives on and is
appreciated.
21
Phinehas - The Bridge Between
Deftones - Koi No Yokan
Review by David Feltman
Review by Danielle Boise
Christian
technical metal
might be a fairly
obscure genre,
but Phinehas is
aiming to change
that. The band
takes its name
from a zealous
high priest who
was known for
running a spear
through a man
and woman mid-coitus to stop their inter-racial “mingling.” While maybe not the best example of God’s
love, the guy does sound a little metal.
The mustachioed quartet leans heavily on the
thrash. The charging rhythms rely more on the
pinched squeals and shredding speed of guitarist
Jason Combs than the typical blast beats. In fact,
blast beats are nearly non-existent. Lee Humerian’s
drumming is far more technical, demonstrat ing a
penchant for changing time signatures on a dime.
Songs slow, stutter and suddenly speed ahead like
a teenager learning to drive a stick shift. That’s not
meant as a slight. The songs are cohesive and intricately composed.
Singer Sean McCulloch combines clean with cookie
monster vocals and in that aspect the band sounds
like typical metalcore. But what the band is actually
playing under the vocals is far more nuanced and
technical than bands like Underoath and The Devil
Wears Prada.
The Christian aspects of the songs do go largely unnoticed until the acoustic tracks start to kick in. It’s
around this time you might begin to notice that this
isn’t an album in the true sense but a collection of
b-sides. Every song from “A Pattern in Pain” forward
drops any metal pretense in favor of acoustic ballads.
The tracks, unfortunately, lose much of their technical virtuosity and transform into fairly typical, fairly
bland praise music. The band has real talent that is
better served at 100 mph balls-out metal, but they
lose their charge when they unplug. But that’s the
nature of these collections. They are often times a
grab bag of songs and, well, they can’t all be winners.
22
Koi No Yokan
allows listeners
to get physically
entrenched in the
music, while allowing their minds
to roam free. The
11-track album has
a multi-dimensional sound with lofty,
ambiguous lyrics
– the feel of being
strikingly open and
very relatable, yet distant and slightly out of reach.
Each song on Koi No Yokan is very much its own creation – separate and alone, yet with a striking ability
to flow nicely into the next song.
The album starts off hard and fast with “Swerve City,”
and it continues to build from there, pulling listeners
along for the ride. Chino Moreno’s evocative voice
draws fans into the darkness with songs “Tempest”
and the haunting “Rosemary.” The use of 7 and 8
string guitars really provides the driving force for Koi
No Yokan.
Something dark and sad exists within the track
“Entombed,” but the song feels remarkably uplifting
as well; using the swell of Moreno’s tenor against the
vibrant guitars strings, creates not only an enriching
sound but one that is dynamically carried throughout the entire album.
The alchemy of the Deftones is they don’t stay confounded to just one box. Rather, they allow the music
to go where it must, experimenting with genres
while adding woven musical components to complete their sound. The bravery in bits of alternativemetal combined with a hint of dream pop and
rounded out with art-rock alone speaks to the artistry that is the Deftones.
The Deftones will be making their stop in Atlanta at
the Tabernacle on March 17. For more information on
the Deftones, visit www.deftones.com.
March 2013
“Burning the Middle Ground” reviewed by G.L. Giles
The review paperback of “Burning the Middle
Ground” arrived
in attentiongrabbing and
truly unique
packaging with
faux blood splattered across the
front and a note
taped to the front
reading: “Only
one more blood
sacrifice, and you,
too, can join…
THE AMERICAN
VALUES FEDERATION.”
Great marketing and the interior didn’t disappoint either! Hard to believe that “Burning the Middle Ground”
is just the debut novel of author L. Andrew Cooper.
This dark fantasy novel is set in a small town in Georgia (USA), and though the storyline is engrossing with
gore aplenty, it’s really the characters, who are anything
but cardboard, who will keep you wanting to turn the
pages.
Empathy will come easy for Brian McCullough who
comes home one day to find that his ten-year-old sister
has murdered their parents. Yet, it may be difficult to
find any love in your heart for the fundamentalist Christian group known as The American Values Federation
who would burn more than just ‘the middle ground’ if
they had their druthers.
Many readers will probably easily side with the ‘rebellious’ Jeanne Harper, who though still strictly Christian,
is more into the love part of the biblical teachings,
rather than the fire and brimstone dogma. So, it’s no
surprise that she squares off with the Reverend Michael
Cox who runs Kenning, Georgia’s First Church in favor
of her more enlightened New Church. One of Michael
Cox’s biggest faults is that he’s rather prone to selfaggrandizement, besides not exactly practicing what he
preaches.
If hypocrisy can be considered the theme in a sense,
then the thesis of perhaps public personas versus inner
realities spread throughout this read make it that much
more interesting. In fact, it’s demonstrated well in characters like the miserable Sara Cox, wife of Michael Cox,
who sums up her having to keep up appearances as a
preacher’s wife with how she really feels in, “Look, Mike,
if this is another sermon about the long suffering of my
Biblical namesake, I tell you, I’ve had it. I’m not going to
pray to a God that did this to me. I’ll keep up appearances–go to church, bake cookies, do all the preacher’s
wife things–but when we’re alone in our bedroom, I’m
not going to pretend…” (P. 124).
Although this read may not be for all, as it’s clearly set
in the Christian paradigm, I’d highly recommend it
for hardcore horror fans, who have an aversion for all
things maudlin—and, its well-drawn characters, action
and suspense will be the gory icing on the bloody cake!
23
Radiolucent's Mike Cowan
UPCOMING SHOWS:
March 15: Marietta
120 Tavern and Music Hall
March 16: Smyrna Atkins Park Tavern
March 30: Athens The Georgia Theatre
Who is Radiolucent?
Photo: Page Allen White
April 10: Jacksonville Burro Bar
Radiolucent is a five-piece band but a large extended family.
(Insert the players (and cohutta) here), but RL is also a dedicated, loving, hard- April 11: Macon core family of fans, stalkers, friends and cohorts. We rarely have a show where The Hummingbird Stage and
just the 5 of us travel to some bar. There are usually one or two (or more) of
Taproom
these die hard family members who
will do any number of things to get to a
Lucent show aboard the ‘Scursion.
April 13: Atlanta Smith’s Olde Bar
What is Radiolucent?
Photo: Page Allen White
24
April 26: Tifton Radiolucent is a movement. It repreThe Gin
sents a growing class of people who are
tired of cookie cutter, auto-tuned, Nashville polished “Southern” music - most
of which has no idea that you can’t eat April 27: Valdosta Bluewater
biscuits with collard greens, those call
for cornbread Our roots are real therefore our music is real. We do not
attempt to emulate anyone. We simply June 27: Isle of Palms The Windjammer
gather around Mike Mann’s lyrics and
pull whatever we can out of our hearts
- in an attempt to honestly pay homage
to who we are now and where we came www.radiolucentmusic.com
from. We write about love and pain
and fun and partying and home and
March 2013
Radiolucent
Photo: Page Allen White
heartache and church and parents and family. We use
our rich, southern musical heritage that comes anywhere
from the four wall churches of our youth to the greasy
dive bars of Athens, Statesboro, Valdosta, and Columbus
- to create a sound that is purely Georgia.
Whiskey Gentry will bring the house down with their
foot stompin, fiddle ripping NewGrassy Rock n Roll. We
consider both of these bands as close as family and will
do anything we can with this show to boost their presence in the Athens music scene.
What can we expect from your show
at the theatre with
Leogun?
As for the Lucent, we will bring honesty, blood, and
pure country, corn pone Southern
American Rock n Roll back to the
Ga theater once again. I’m not
ashamed to be a part of one of the
best things to happen to Southern
Rock in a generation.
The Leogun/Whiskey Gentry
show on March 30 will be epic.
Leogun is on fire and they
have done to British Rock what
we strive to do with Southern
American Rock. They have
given it a rebirth, paying
tribute to sounds like the Who,
Zeppelin, etc while remaining
honest and true to who they are
what kind of music they love to
play. They will melt faces, and
have sexy accents.
Give a message to your
fans, the lucent family...
I love ya’ll. You humble me with
your undying dedication to this
music. We strive at every show and
every practice to make ya’ll proud.
Photo: Page Allen White
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