Cavalera Conspiracy
In 1996 Max and Iggor Cavalera, the Brazilian brothers who formed Sepultura, parted ways. Sepultura was one of metal’s groundbreaking bands. Formed in 1983, their sound and intense aggression helped form modern day metal. Max went on to form the infamous Soulfly, and Iggor kept Sepultura going strong, but after nine years he split. Last year, after 10 years of not speaking, Max had heard that his brother was doing some “DJ stuff and knew that he needed to bring his brother back to metal,” Max explained. He called his brother and told him he wanted to play with him again and he had some songs that would be perfect. So they got back together and, joined by Soulfly guitar player Marc Rizzo and recruited Goirja guitarist Joe Duplainter to play bass (but tour with bassist Johnny Chow), they formed Cavalera Conspiracy. On March 25, 2008, Cavalera Conspiracy’s Inflikted was released and one of metal’s greatest duos proved they were back with a vengence.
It’s not every day that you get to meet one of your metal heroes. When I heard that the new monster Cavalera Conspiracy was coming to the Fillmore in SF, I scrambled to reach the people necessary to get an interview with Max Cavalera. I got to sit down with the man I had been listening to for years, the man whose music helped me become the metal singer I am now. It was a surreal experience.
The tour bus was full of Iggor and Max’s family and kids. Playdough and books were strewn around. Not the “metal” tour bus image I imagined. But, cool nonetheless.
I sat down and with timid excitement and started my recorder.
Max first told me about this tour “It’s been amazing. The reaction has been pretty much a guaranteed pit every night. Large whole floor pits. I noticed more on this tour than any other, the security guards will stop doing security and start singing along with the old Sepultura songs. I think that’s really cool.” With Marc and Joe playing Sepultura songs, “it’s been perfect. Marc is a phenomenal guitar player. He can play note for note but add his own personality to it. Its’ not like he’s playing a cover.”
I wanted to know what Max’s life was before he was in a band. “We started really early, Iggor and I. I was 13 and he was 12 when we recorded out first EP and we had already had the band for like two years. My recollection from before the music was just soccer and cartoons. Iggor and I like to watch a lot of cartoons,” Max explained.
And how does it feel now for him to be able to do this after so many years?
“To me that’s the best thing ever, because otherwise I would be really frustrated. Music is the one thing I have that I know is here and can count on when things are good or bad.
It sounds clich\é but I don’t care, music is life, not a job. I don’t separate my music from my life. Some people can shut off from a job. I don’t do that. I go to sleep and think about music. I write lyrics all the time. See, there’s lyrics hanging by where I sleep.” Max pointed to a sheet with the Chaos AD lyrics scribbled on them, taped to the wall behind me.
Right after that my brief 10 minutes was up. I shook his hand and had to leave the bus.
Four hours later I stood in front of the Fillmore’s stage and watched as Cavalera Conspiracy put on one hell of a show. They played Sepultura songs I never before got to see live. They made this tour a huge family affair by having Max’s stepson’s band Incite open the show and little Iggor Jr. played the drums flawlessly on the song Troops of Doom. Iggor’s daughter came up after the band was done and threw out her father’s drumsticks to the crowd, along with blown kisses and metal signs.
A happy metal family, once again.
Chemo Kid Calls it from Experience
Some artists struggle to come up with an emcee name before settling on a play on words or something creative.
For Giovanni Goodman, the moniker “The Chemo Kid” came easy. The name was an obvious choice for this hip hop artist after he endured three rounds of chemotherapy to combat non-Hodgkin lymphoma.
The 24-year-old Vacaville resident has channeled his physical and emotional pain into lyrics and verses that he said he wants others to hear, so they can realize that having a potentially deadly disease doesn’t mean you have to give up.
He said it was three days before his 21st birthday when he went to the doctor with what seemed like mosquito bites on his body. Soon, doctors would tell him of his illness.
“When I walked out those doors, reality hit me, then I took a step back. You might as well enjoy yourself while you can,” Goodman said. “That was the first and last time I cried. I just sucked it up and did everything they told me to do.”
In fact, three days later he was in Las Vegas celebrating his birthday. That’s how Goodman has overcome the chemotherapy and bone marrow transplants. He’s gone on living his life like nothing can stop him. Included in that journey has been releasing a mix-tape with songs ranging from his battle with the disease to losing his mother to oral cancer some years back. He also recently played his first show in Vacaville, which he said was something special.
“You could hear the applause from down the street,” he said. “When I got on stage, all the energy hit me. To see my family and friends was amazing. Everyone has been talking about it. Everyone was surprised. They have never seen me perform.”
During shows, Goodman said the emotional content sometimes grabs a hold of him and puts him in a zone.
“When I do a show, it’s very personal. A lot of times I take a time out. I just sit on the ground,” he said. “I’m just talking to myself, not the crowd.”
Goodman’s tone is a bit soft, reminiscent of Q-Tip, and his delivery bears some resemblance to Jay-Z. Although he would never compare himself to the legend, Goodman said he does hear the comparison from others.
“I hate listening to myself, and when I get feedback, it’s usually Jay Z,” he said. “It’s not bad; to me, he’s the greatest of all time.”
One difference, he said, is that his rhymes are always written before he goes in to record. Freestyling for him is not an option.
“I can not freestyle to save my life. I’ll write it, run it through and make sure everything fits cleanly,” he said. “I don’t even get close to freestyle circles. I would make a fool out of myself.”
Ironically though, rapping off the cuff is how he got started. One night after throwing down a few brews at Sudwerks in Davis, he and a friend started rattling off what he called a joke song.
“By the end of the night, everyone around us was singing along with it. They went along with it, we recorded it and everyone loved it,” he said.
With the combination of a unique style and some serious topics, The Chemo Kid has seen his following grow on MySpace and now boasts more than 70,000 plays. Like many artists, he aspires to take his music to another level and blow up and make millions. However, he has some motivation for that.
“My main goal is take care of family,” he said. “I don’t want that crib status. Hopefully I can get to a point where I can get big enough to get millions and give back to people and get them health insurance.”
Bipolar: Not just Another Mood Disorder
Normally when the term bipolar comes up in conversation it is usually describing a person with a serious mood disorder that requires medical attention. A person with bipolar disorder experiences periods of mania along with periods of depression, which is not an easy thing to deal with. It is true that most of us do experience crazy times and sad times both, but bipolar disorder goes to the extreme.
What if music had bipolar disorder? What would it sound like? I think it’s time we find out!
Bipolar is a female-fronted local metal band that has been blistering eardrums since 2003, combining the brutality of metal and hardcore with some more melodic elements. Since then, the band has played all over the place, including an ice skating rink, won a Sammie award, and gone through its fair share of ups and downs.
So what is behind the name?
“We were having a hard time coming up with a band name for our project,” lead vocalist Charlie explained. “After an encounter with a pretty bipolar guitar player, we decided that term was the best description of the type of music we were playing, a good blend of hardcore mixed with melodies.”
Being a female vocalist in such a testosterone-driven scene must have its challenges. What kinds of challenges does Charlie face?
“At first it was that I wasn’t being taken seriously, like I was a gimmick. Some guys decided they weren’t going to like me no matter how good the band was just because I was female. It took me a while to realize that it didn’t matter if people didn’t like the band or me, different flavors for different tastes. As long as I’m doing my best and making music that I love, it’s all good. After being in the scene for over seven years now , I’ve earned my dues and respect, or at least I feel I have. I haven’t had many challenges other than keeping a guitar player around.”
And how about the guys in the band? Is it challenging for them as well?
Drummer Brian explained, “I felt at first that we wouldn’t be seen with a true hardcore feel. Now she’s earned the respect, and people know she brings it.”
Of course being a female-fronted band would bring about comparisons with other bands of the same ilk, which brings about an additional set of challenges, right?
“Holding back punches when people expect us to sound like Otep,” bassist Mika said.
So there’s rule No. 1: Do not compare them to Otep. Just don’t do it. Must keep bass player happy.
Why did the band choose to pursue this particular style of music?
Charlie answered first, “Why not? It’s aggressive, fun, and a great shock value for anyone who’s never seen us before. It’s my therapy, I get all my screaming done into a mic, that way I’m not screaming at people everywhere else.”
Actually, I would find it very entertaining if I were in McDonald’s and I heard Charlie scream, “I SAID NO PICKLES!” But that will probably never happen. Still, must keep singer happy.
Guitarist Ryan adds, “It’s what I grew up playing.”
And Mika, “Because everything else sucks. This is the only genre where you can be fat and get chicks.” (We’ll definitely have to talk to him again and get some details.)
.bipolar. is made up of some interesting individuals. I can think of several reality TV shows I would love to see them in, but I wanted to give them the opportunity to choose their own. So the question is this: if you got to star in your own reality show, what would it be?
Charlie: “The ups and downs of being a mom, playing in a metal band, publishing a magazine, and my hatred for the HILLS.” Yes, in case you haven’t figured it out by now, Charlie is the editor of this awesome periodical you are currently feasting your eyes upon. She is one busy person, sure, but it is admirable to see a person doing all of the things she loves to do, while raising a child as well.
Mika: “I would date porn stars and then realize they’re all trannys.” (Yeah, we definitely need to talk to this guy again!)
The band just released a brand new CD.
“We recorded Capacity for Change to finally put out some new music after two-and-a-half years of not recording,” Charlie stated. “Mika and Ryan have helped write some awesome songs and this CD is to showcase that, and how as a whole the Bipolar sound has grown. We’ll sell it at shows, and we’re hoping to get it on iTunes soon.”
You can get a taste of the new stuff at www.myspace.com/bipolar, or better yet, go see them live at the Fire Escape on September 19. You never know what to expect at one of their shows. For example, Mika had a great past experience to share about a show at the 180 Teen Center in Lodi. “We had to do group prayer right before the show and we had a song about rape, and I passed out during our set.” (Yeah, we really need to talk to him again!)
.bipolar. is not your ordinary mood disorder. They are a serious metal band, and they do bring it! But don’t take my word for it, give them the chance to earn your respect.
A Night with Papercity Skyline
I arrived at Papercity Skyline’s practice spot half an hour ahead of schedule, only to greet Alex and Jeremy who had also showed up early and were waiting outside. In the half hour we waited for the rest of the band, Alex introduced me to a beverage called Joose, a 9.9% alcoholic energy drink. It wasn’t bad, and the whole band likes it, minus their singer, Jerry. TJ and Jonny showed up and I asked them what they’ve been up to, and to let me know about the van problems they’ve spent the last month trying to work out, which has left them unable to play too many shows. They joked about carrying all their gear to a gig if they had to. As Jerry then strolled up, fashionably late, the rest of the guys let me in on a mystery of the band: how Jerry gets to practice. No one really knows.
Looking around their practice room, they had a massive medieval sword hanging from the wall, pictures of hot chicks, gear, a small fridge, a whiteboard and their “mood lights.” As they get into the practice room, the jokes simmer down. All their energy becomes focused on the music and their movements. They stretch together, telling me that it prevents pulled muscles. I laugh until I see them start playing. They moved themselves around the room with intensity that I would expect from a live show. For fear of them just trying to impress me, I asked them if they always practiced like that…and… really? I mean… really? They were serious and told me that their energy of the live show is one of the most important aspects of their band, so practicing with that passion is important to them. They hurricaned through their five-song set, plus two new ones – and I had to watch myself from getting stepped on more than once. During practice they all had a few beers and a Joose, except Jerry who drank a cola of some kind. For the record, he likes Pepsi. The courteous gentlemen that they are shared one of their last beers with me. Such nice metal guys.
Their brand of metal puts together similar influences of other bands but shakes it up a little differently. I have to say that I am somewhat biased as my weakness is harmonizing guitars. They let me know that the addition of their new singer (who came from a more poppy background) has helped put a twist on the music. He has been in the band less than a year, while Papercity Skyline has been around for two and a half years. They are happy with where the band is now with writing style. Everyone writes songs, so anyone at any time can bring something to the table. They will very frequently record scratch demos with one mic in the room so that they can go home and work on the song. Jerry writes all the vocal parts, including the harmonies and the screams. Some of their slightly better recordings can be found on their myspace at myspace.com/papercityskyline.
The two guitarists, TJ and Jeremy, play out of mesa boogie dual-rectifier rack mounts. They wanted to make sure that everyone knew that the rack mounts are the best – by far. Their bass player, Jonny, said that if he could afford it he would have a symphony of Samoan dudes to hum all of his notes for him… or… all mesa boogie gear and a musicman 5-string stingray.
In the time I spent with them, I had to ask the band my favorite question, which is what they might want in their dressing room before every show. Well, they got creative on me, to say the least. Some of the things they said they would demand in their dressing room were: Joose (of course), a Best of Bobby Darin CD, five lubricated sports bras with attached snorkels, two naked male midgets with oversized boxing gloves in a tiny boxing ring, a box of turquoise razzleberry scented anal beads and a few other things that are too metal to print.
All in all I had a really fun time hanging out with the band and getting some insight on what makes them tick. As we parted ways, they gave me the porn star handshake, which was an elbow bump. They mentioned something about scabies and I took that as a cue that the interview was over. If you’re interested in seeing how these guys throw down, they’ve probably got a show or two posted on their myspace by now – go check them out!
True School Rules: Rock The Bells’ Sequel
Authenticity in hip hop has always been a hot topic: who are the REAL MC’s making REAL music and who are the frontin’ rappers getting pimped for dough. While the line marking realness blurs depending on who’s drawing it, it’s pretty much a given that every year Rock the Bells serves up one of the best “True School” lineups around: a day of classic hip hop, banging beats and new school treats for heads, backpackers and beatdiggers.
In comparison to previous years when Wu-Tang Clan, Rage Against the Machine and Public Enemy led the crowd through sets of throw ya mothaf—-n hands up bangers,
this year’s headliners A Tribe Called Quest presided over a mellower court with rounds of head nodding, way-back-when jamming and some well-timed wildin,’ smokin’ and crowd surfing, courtesy of Redman, Methodman and – whodathunkit — De La Soul.
Performers on both stages were on their game. The big names — from Rakim to The Pharcyde to Tribe to the Bay’s own Blackalicious — rocked the packed main arena like old school heads proving they could still kick it, while newer acts like Immortal Technique, dead prez, Wale and Jay Electronica stalked through early sets bringing progressive politics and heady wordplay. The hyperactive young guns over on the second stage, including the Kidz in the Hall, Berkeley’s The Pack, Spank Rock and Amanda Blank, buzzed over their pint-sized audience like first graders after too much sugar.
But this year’s King of Rock the Bells crown undoubtedly belonged the Nas. Fresh off a Billboard No. 1 album release, Mr. Nasir Jones got his rock star swagger on in between anti-big media tirades, cuts off the new album “Untitled” and Queensbridge classics like “Half Time,” “It Ain’t Hard to Tell” and “If I Ruled the World.” And as he adjusted his shades and looked out into the audience, he told them they indeed could rule the world and that hip hop, with it’s “pants saggin’ and hats on backwards, (is) the future.” And as a sea of hip hop voices rang in response, realness appeared to definitely be in the building.
From the Business End
From “door pay out burns” to the way certain local media personalities have so much control over which nationals get attention and who don’t, from the drama on a local level to the drama within full-size production companies and venues, Sacramento is often looked at as a very risky market in which to do business.
Most metropolitan regions of comparative sizes offering a similar amount of clubs and venues usually offer a wider variety of entertainment based on the needs of the customer and local market, in comparison to what the touring and performing market has to offer. Over time, the markets stabilize, revenue is generated by venues and promoters can establish key relationships that, in turn, attract and maintain patronage from various consumer markets.
Aside from communication issues between promoters and business owners, venues and agents, and similar business scenarios, a lot of promoters and some venues in Sacramento have a tendency to copy other venues and calendars. They often book the same locals every week in venues clustered too closely together, or from the venue side; not communicating operational expenses with the promoter; or providing information they need to make key decisions that impact the show(s).
Decisions made while jumping the gun to beat the other guy or poor communication with all parties are decisions that create a certain amount of instability that can lead to venue closures, shows being shuffled and cancelled, overbooking… all things that have a negative impact on consumer response and sales.
Then touring acts and agents are less likely to have a desire to do business in or with anyone from Sacramento due to the reputation Sacramento has developed over the past 10 years.
In the end, the venues, promoters, agents, reps, artists and fans who really do care suffer the backlash that results from the unprofessionalism and egotism of those who make poor decisions.
Granted, the music business, like other businesses, is impacted by surrounding events, such as the weather and the local economy. That is why it is so important to communicate general business challenges regarding cost or market impact and concern with the artist.
The following is an example to illustrate what could be considered small issues that happen in business but may have a larger impact than many might realize.
The subjects involved in this sceanario are a venue owner who requires 50 percent to cover labor; a promoter who sells themselves one way and operates in another way that is not so professional; and a touring artist. The venue is 500-person capacity with a basic sound system, but will have to outsource techs for the show.
The artist is a semi-national of a $5,000 asking with $2,500 deposit up front for a date with sound and food on the rider, no hotels. The artist does well in other parts of the region, but has had difficulty in Sacramento in the past because the promoters do not market their shows to the right market. The artist is known to offer flexiblity on asking cost.
The promoter is known to use others in the industry for their benefit. The promoter caught a lead on the artist from a source who told them a competitor was going to bid on them. The promoter is known for moving on other people’s ideas for their own glory without applying basic business sense.
The time of the year is when the State Fair is in full force, Hot August Nights is coming up, and people are looking to travel. It is a hard time for live music and more consideration and communication should be used when negotiating.
Except the promoter chooses to brag about their success and how they are the best person for the job, while leaving out important information about the venue, expenses and the market.
There is a very high chance that the artist, who would maybe pull 400 in November with $10 tickets, making a $4,000 gross plus bar sales of $2,000. However, in the summer, the artist’s realistic pull would be about 100 people at $10 tickets, with a bar sales of $1,000 IF the date is not a weekday, which then you can anticiapte even lower sales.
Now, the expenses start to kick in with the $2,500 deposit. There is also marketing, food, your labor, and the venue’s cut for their labor. That puts expenses at $5,000. The show has now become a $7,500 show (and you still owe the band $2,500).
The promoter was so focused on telling eveyone else how to promote the show and about their promotion company that they did not tell the artist anything really after the artist accepted the date. The artist thinks they are coming for a great show and the venue owner thinks they are gong to have a nice little sales night.
Except that now it is after the show has ended and it is payout time. You barely hit 110 paid guests at $10. The guest list cost was $100, five for the national and five of the promoter’s friends. The venue has the door cut and the promoter is holding $500. Here comes the tour manager, right up to the promoter: They want $2,500. They are not happy that the show was off schedule and unorganized, and they express this unhappiness to the promoter. Then to the venue, who is not pleased that they did not know what the promoter’s actions were. The band goes to the promoter, who at this point is gone, or gives them a portion of the $500 and a lie.
And why ? The promoter was concerned with having the ability to say “I booked that band I promoted that show.” The promoter was not thinking like a businessperson. A wise promoter or venue has an expense sheet, they know their market and they know how to communicate with artists and their agents to make sure this is a worthwhile investment for all parties involved.
Yes, that’s right. Shows are investments of time and money. The industry is similar to the stock market with its ups and downs, consumer trends and the economy’s impact on the markets.
What is really scary about the above is that it is not just relevant to a semi-national with an asking rate, but also to locals and smaller touring artists. Those are the ones who are hurt the most by lack of communication. Bands and others in the music industry will have more respect and interest in possibly doing business in the future or with another act because circumstances surrounding the general operations of the venue and market surrounding are well-communicated.
The artist then knows what to expect for draws and markets. The artist is also able to set their budget, knowing that it may be a soft night. They may even have material sent to help or waive cost. In the business world it is called making a good-faith effort.
I am at a point where people in the industry and who support the industry need to have an understanding of why things are the way they are and how can we finally make a change.
It is time to take back the music industry from egos, venues and reps who intentionally make poor decisions in business or back-door the bands. The people who cut out venues and reps who actually care: who do what they can to the best of their effort, and treat artist and their reps with respect.
The public needs to see interviews with industry reps and artist, as well as venues and promoters. Here’s the catch though: the people will be from various aspects and levels of experience in the music industry, as well as from general business. The purpose is to give the fans and artists, and the readers of FRINGE, an opportunity to have the insight they need to do their part, even if it just going to the show and actually paying.
A BIT ABOUT ME
I have worked in various aspects in the industry for 17 years now, cleaning up after shows and helping at studios in Oakland and around some of Northern California’s wisest minds in the industry. I have also spent many a day listening to wise blues men and established artists from the Bay area scene, from venues operations and production assistance to administrative third party booking support, promotions, marketing, public, artist and media relations … I wanted to learn as much as I could about the scene in which I grew up.
I have had experience with local and national artists, venues with capacities from 80 to 1,500, networking, consulting, administrative, accounting, media artist and public relations, even a little sound. I have been through the Atlanta punk scene, the Hollywood Glam scene, the thrash and Death eras, and am proud to be from The East Bay metal scene. But, Sacramento is the worst scene in which I have had to conduct business.
That is why I consider myself a consultant. I would rather help people who have the resources and passion to make good decisions than support fake people who just continue to feed the bad reputation of Sacramento. That is a big reason why people do not see or hear of me doing anything. I keep I quiet and avoid the drama. I have been sucked into it too much and I was trained to be a warrior in the metal business, not to relive high school. The sad thing is I am not the only person who feels this way. Obviously, FRINGE’s Charlie stated that in her article from the artist fan standpoint. Now we need to hear from the venue business points, from people who agree with Charlie. “We are not idiots.”
Those who always remember that when the paperwork is done, the sounds dialed and the door are open, in the end it’s about the artist and the fans. . It is about the music and it is time to start reminding people of that truth.
The Stalking Distance: Solid As A Rock
There’s a very solid and necessary place in this world for weepy introspective rock, but The Stalking Distance doesn’t acknowledge it when they play live. “We don’t play slow songs,” Jose, singer for the quartet said to me as I talked to them in their practice space. “We like to keep the energy level going.”
I’ve never played onstage, so I can’t attest to how easy or difficult that is. But I can say that I’ve seen my fair share of loud shows where the audience stands rock-still like an Egyptian statue, moving only in the direction of the bar. Loud is not synonymous with interesting.
On the other hand, it sure helps the adrenaline rush if the music ravishes the ear drums.
I got to see both sides when I walked into the Fire Escape last month while a skinny kid gargled lyrics about William Sherman’s march to Atlanta into his mike. Around him, his curtain haired band-mates cheerfully bashed their instruments in imitation of whatever death metal bands their little hearts adored at the moment causing echoes in the woefully empty venue. In front of the stage were their sole two fans, arms self-consciously crossed between half-hearted fist pumping. Hell can be a very close equivalent to seeing an opening act. Abandon all hope ye who must sit through a band you didn’t come to see.
These poor saps, whoever they are, didn’t hold a candle to The Stalking Distance, with their potent hard rock fusion of punk and metal, but they shouldn’t feel too bad. The band, not even a year old, has achieved distinction beyond most. Within the last month, they’ve achieved radio play on both KWOD and 98 Rock, and gathered a strong base of fans through intense regular shows. The Sunday I saw them was their second show for that weekend, after an intense performance at the Battle of the Bands on Friday at the Kennel Club.
When I sat down with them in their practice space, they were prepping for a tour of California and Nevada with frayed nerves; Jose’s equipment had just gone out the night before they were due to leave. But they were eager to get beyond Sacramento. “Hopefully LA will eat us up,” guitarist Marc told me. “With what I hear, we’re right up their alley.”
Nerves aside, there’s a damn good chance that everything will be just fine. The music they play is accessible, but unique, effortlessly transitioning between punk riffs and metal-influenced guitar solos played by Marc. Onstage he props the crux of his Flying V guitar on his knee as he plays, and finished with a quick grin, like a 10-year-old who knows he’s done something completely right. The audience grins, too.
“We’re trying to take it back to the rock roots, but still keep it interesting, and that’s what a lot of bands have forgotten how to do,” bassist Darryl told me. “They’re technically good…but they have no heart.”
Having heart, in this case, can mean a lot of things, but mainly it means the ability to escape from the homogeny that bands these days seem partial to; to not be a copy cat, to not go the easy route and still manage to rock. And it especially means to avoid pretensions that wouldn’t fit well on these guys anyway. Talking to them is like hanging with bar friends you trade rounds with. My interview with them was peppered with jokes and easy laughter. Even as they are getting popular, they know not to put their noses in the air because standing right behind the euphoria of success is reality.
“The first time I heard [Cult Classic Design] on the radio I got a big ol’ s–t-eating grin on my face,” Jose said. “It was cool, man…but I still have to get up and go to work every day.”
Still, to achieve what they have in such a short period of time is remarkable and it doesn’t look too bad in the future, either. They pulled in 160 people at the Boardwalk when they opened for Wednesday 13, all due to constant hard work and a clear view of what they want. “You need to come see us if you want to see a good old-fashioned rock ‘n’ roll show, we’re in your face and we have fun. We like to drink, we like to rock and that’s what we’re all about,” Jose says.
With their aggressive guitars, fast drums and bass and incendiary solos, they certainly are.
