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AWOLNATION of Domination

“Our goal is to make it really hard for any other band to play after us…”

Aaron Bruno has built a nation. A nation of domination. In just 2 years, Bruno’s project, AWOLNATION, has taken the world by storm with its indefinable, fusion-happy, rhythm-centric, quirky sound. You’d think being original in a world of clones would be welcomed – but there seems to be this anxious yearning from the music media to categorise or label AWOLNATION’s sound. Is it pop? Is it rock? Is it dance?

Burn “It” Down!

Going against the grain – and hoping to prevent Bruno from tearing away at his dirty blonde locks in frustration – I prefer to question him how sick is he of always being asked to describe his sound? “I’m so sick of it,” Bruno says, without any hesitation. “But I found a clever way to answer it is: I’m very proud that I can’t describe the sound. I’m honoured to not be able to answer that question. This record [Megalithic Symphony] sounds like all the stuff I love, personally. It sounds like me. Whatever that is, is what it is. I am who I am – and that’s it. What you see is what you get – and it’s very honest and has lots of passion behind it. I think songwriters write what they love, whether they realise it or not. The songs I write are clearly an expression of all the stuff I’ve loved my whole life

– from Michael Jackson, to Prince, to Public Enemy, to N.W.A., to Refused, to Nirvana, to The Beatles, to Neil Young, so forth and so on, to equal what has become AWOLNATION. I suppose I’m just recycling all the influences that I’ve always loved. I feel very lucky to be such a huge music fan, and fan of all different genres, that I was able to make such an eclectic and ambitious record.”

Nation Building

Well, this eclecticism seems to have paid off, because the AWOLs have been jet-setting around the globe, becoming mainstays on commercial music charts and festival bills, and even finding their way to South Africa for two dates. When asked if he’d ever thought he’d be performing down here with his previous bands, Under the Influence of Giants and Home Town Hero, Bruno replies, “Never. Never, ever, ever did I think I’d be fortunate enough to come to South Africa.”

My previous question seems to have triggered off some bad memories, as the good-humoured frontman gets serious about his hardships. “After my last band split up, I was in a really low place. In fact, with both of the bands I was in, prior to this one, I had all the aspirations and dreams of the world for those projects, but it didn’t work out. So, when the last band broke up, I was sort of at rock-bottom, broke, had a lot of debt, didn’t know how I was going to pay the bills, [and] trying to figure out what I was going to do with my life. I knew I was going to continue to write songs, because that’s just who I am and that’s all I know how to do – and what I do best. But I’d sort of given up the idea of having any success. [However] it seems like the minute I let go of that is when everything good started to happen – and also gave me the freedom to write the songs I wanted to write, because I wasn’t bound to any other composers. For the first time in my life, it was a complete free expression. I appreciate this [current success] so much [more], having been through so many ups and downs and having to climb an enormous mountain to get to where I am now.”

Sailing to South Africa

Coming back to the topic of South Africa, Bruno has often mentioned how song ideas spontaneously come to him at the most random times. Undoubtedly, locals are wondering if we’ve inspired any future AWOLNATION hits. “No song ideas, but, on the plane ride here and cruising around, I’ve had a lot of video idea concepts. I’ve definitely been inspired by this country, and I cannot wait to see what I write next, because it’s not always when you’re in the moment that you’re inspired by something. It may be the day after I get home, and wake up in the morning, have my coffee, smoke a joint, and all the South African energy in me will come out and there will be some awesome new song, hopefully.”

Interestingly, despite being headliners overseas, AWOLNATION played relatively early sets at both RAMfest shows. “We’re just so happy to play,” Bruno affirms, dispelling any notion that the band disliked the earlier timeslots. “In a lot of Europe and Canada, we’re a headlining act now; so, I really enjoy opening up for bands and not being the headliner, because I feel like the underdog – and feeling like I’m back at my punk rock roots. When I hit the stage, I want everybody to enjoy the show and think ‘Holy shit! I don’t need to see anything else. I’m done’. Our goal is to make it really hard for any other band to play after us; that’s exciting and fun for me.”

Like clockwork, South African fans have grumbled that AWOLNATION’s tour was too short, and demanded future shows. Avoiding making promises or commitments, Bruno does admit that he’d love to come back here down the line. “I hope so. This is one of the coolest places I’ve ever been in my whole life. Everyone is so beautiful and so nice and kind. The English accent out here sounds like a sexier Australian one to me – I really enjoy it a lot.”

New Music? Not Yet…

Not letting Bruno leave before he answers my final question, I point out that Megalithic Symphony has just celebrated its one year anniversary, and we’re all itching to know what’s coming next and when? “It’ll probably be a full-length record. I’m already writing the next one, because I had the luxury of time on my side with the first. I didn’t think there would be a label, or a release; I thought I’d be making songs and just putting them out online for free, and hope for the best – but instead, this whole thing blew up and it’s going so well. It’ll probably be a year or two before another record comes out. I’m starting to write it now, so when the time comes I’m well-prepared. Some of these new songs I’m really excited about and love, and can’t wait to play them for our fans.”

Read Sergio’s Review

Check out AWOLNATION’s video of Burn it Down

Two Door Cinema Club – good and grounded and groovy

Two Door Cinema Club have more in common with fans in South Africa than a few happy-go-lucky, electric pop songs. Certainly the Irish indie artists never realised they HAD so many fans here in the first place, nor that most of them chew gum. Then they jumped on stage in Johannesburg and were blown away by thousands of smiles that stayed with them till Cape Town where it happened all over again.

The common ground is also in our separations. Like us, Ireland has a history of segregation, a bloody past and resonant isolation. The band members didn’t learn an indigenous language, and they weren’t involved in their country’s traditional music, apart from a few tin whistle lessons in primary school.They also missed out on a lot of international music. The small town boys describe the few big acts they saw growing up as ‘mid-level’ (that isn’t a compliment), and turned to big brothers and sisters playing in bands in Belfast for something to believe in. Without mentor or money they did what we do too – they made music anyway. Now they make masses of new fans every show and get to play all over the world.

The 2010 NME darlings are big in small circles, but they’re grounded. It’s partly revenge. “When we started to get some attention and got signed, and made a record, some people around us would say ‘there’s no point going there, we’ll just stick to the major markets [and not play small venues]’ and we couldn’t go along with that. It was something which didn’t make sense to us. It infuriated us. We didn’t want to do the same to people.” They also don’t stick around long enough to get a big ego. “We never see ourselves on TV or hear ourselves on the radio. When we play really big shows or do something important, it always takes a long time for that to sink in, really; our lives are just one huge whirlwind.“

That whirlwind didn’t erupt overnight. Like their focus on reaching fans wherever they are, it arose from an earthy attitude and a dedication to process. “I think it would be much different if our rise to where we are now was more characteristic of many bands these days, especially in London, New York, L.A. – you know, record labels at your first gig and people throwing money at you and everyone saying yes and yes and no one can give you the hard truth. This is our fourth year touring – we were very adamant that we wanted to play live before we even made a decision on labels, especially across the UK and in Europe. We work with very independent record companies and everyone we work with we get on personally with and we have a relationship with. It’s very down to earth the way we do things; very DIY still.”

Fame hasn’t knocked the fan out of them, either. They love Arctic Monkeys (so they must’ve smiled at The Plastics) and The Strokes and South Africa especially. “This was a big goal on our list that we wanted to tick off. It’s always hard to know if anyone’s going to turn up, especially with the way record sales are now; you can’t really judge if anyone likes your music by record sales. It was a very, very pleasant shock.”

“We’ve toured almost everywhere else quite a lot – Asia and Europe and the Americas and we’ve built a foundation there in a live sense. We’ve played the dive bars and the toilet venues and we’ve moved up and up each time we come back, and this is the first time we’ve ever been here, you know, we kind of had the idea that we’d be doing the same thing. We arrived in this massive warehouse and 5000 people turn up. “

A pleasant shock for all. Instead of vacuous, tin-thin indie guitar and monotonous chorus lines, the crowd enjoyed solid songwriting, an unmistakably amiable stage presence and a super-easy act that has entertained audiences just about everywhere.

“It’s kind of unbelievable because the biggest headline show that we did in the UK was Brixton Academy a couple of weeks ago, and that was 5000 people. So to play to the same amount of people in Johannesburg as we did in London was kind of…”

Kind of the power of branding, sponsorship and a good digital campaign. The sponsors, 5Gum, didn’t market this venture in traditional media, and it didn’t know if Facebook would be enough. It was, and its gutsy marriage of medium and niche has given bleeding edge marketing gurus something to chew on as Pages go billboard-sized. It will be interesting to see what the two-way wow factor this honorary events company comes up with next. Black Keys via Twitter, anyone?

For now, Two Door Cinema Club have left us for the whirlwind. They’ve ticked Africa off their To Do list, and Antarctica remains their only unconquered continent. (Leto went to Greenland, remember?). What do we do with the emptiness?

Well, what do we have in common with each other in this diverse land? We have music. So we come together and we move to it. If I’m going to say anything in defence of dance-oriented indie pop, it’s going to be that it’s a balm for the post-modern puzzle of pieces we call our emotions, devotions and aspirations. And if I’m going to say anything in defence of the sweet lads from green dales, it’s that they are solid, dedicated and I’ll always be a fan of a good jam, especially ooh, ooh, ooh if I can sing along, too.

Besides, they said they’d come back. And good boys don’t fib. Unless you ask them the same question too many times. I’d like to honour their unorthodoxy by closing with a less common question. Flying around being famous and making music earns them one moerse carbon footprint. Are they planting trees while they’re breaking hearts?

Check out the video doccie of the TDCC SA Tour

Events | 5 Gum Experience: Two Door Cinema Club. from we-are-awesome on Vimeo.

Mark Beling Band

If you look back to when Fred [Hayward] passed away; had that not happened do you think Mean Mr. Mustard would still be going or do you think that was simply a catalyst for an inevitable disbanding of the band?

Yeah, it definitely speared things on quicker. I always did want to eventually do my own thing. I think at that point the band had run its course with the line up so it was time for a change.

The Mark Beling Band – as founder, singer & songwriter of Mean Mr. Mustard; how does one redefine one’s sound without sounding like the former?

I think the vocal definitely with being in both bands would certainly marry the two. You can’t escape the sound of your voice. Song writing wise, I just still write the same. I’m not going to change my whole writing style. I think with the new band there is a slight difference. I think it’s a bit rockier; in a sense Mustard was very clean cut pop wanting to sound rock but never kind of crossed the border. I think this is a bit dirtier.

Being a professional musician in SA is a tough business. What’s your take on things?

I think realistically you have to have a day job, you simply got to. I mean the okes in America have two jobs. You can’t just be a muso and survive on that; okes are finding it tough all over the world. I think if you can just secure yourself financially is the responsible way of looking at it. Everybody wants a different journey in music, some people just want to do their own stuff, some people just want to play music for the sake of playing music and doing the cover thing, it’s cool I mean you learn a lot doing covers. I think a lot of musos won’t get themselves to a point playing wise because they have never had to stretch themselves as a musician. I think when you are learning covers you have to figure out a lot of stuff and I think you learn your craft a bit better. Everyone has their own reason for doing this you know.

You and your band are all accomplished musicians and are able to cover, I should imagine, almost any song if you wanted to. For live gigs do you do a mix of originals and covers?

It depends on the show. If it’s an original show with other bands we obviously will just play original stuff. If we are doing our normal club gigs we will do a 50/50 to keep the people who haven’t come there specifically for the band interested, you know in order to hook them first and then you introduce them to our music.

What song is a guaranteed crowd pleaser every time you perform it?

Hey Girl, that’s off the new album. Whenever we play it, it always gets the best response, people just start dancing to it even if they hear it for the first time. It crosses over nicely between the English and Afrikaans market. I think that is because it’s such a safe, typical radio song. It works great live and gets the dance floor full.

I understand you recently got yourself a USA G&L S-500?

Yes. The guitar is absolutely fantastic. I love the pickups. Really phenomenal. I’ve actually just ordered another set of these pickups for one of my other Strats, to really fatten up its sound.

What is your favourite overdrive pedal at the moment?

The Way Huge Green Rhino is just in a class of its own compared to the other boutique pedals – to my ears anyway. It really is a tone machine. I love that 100 Hz bass control. A lot of overdrive pedals lose some bottom end, but that just fattens it up like nobody’s business.

Tell us a bit about your VOX AC15 Hand Wired.

Tone-wise, it’s unbelievable. Absolutely love it. That’s why VOX are what they are.

I see you have a Kemper Profiling amp?

I’ve had mine for 3 weeks and I’ve been playing every day. It’s got the sound, feel and dynamics of a real amp. All my recordings in future will be through the Kemper.

Trenton and Free Radical

Before Free Radical

Trenton, says he is proudly African at heart having lived in Kenya and Nigeria as a child before settling in Greenside, Joburg as a teenager. He then moved to London in the early 2000’s to forge international music business networks.

“I moved there purely for the music industry but since I moved back I no longer feel torn, Cape Town is where I belong” he emphasises.

Trenton founded the label Black Mango Music, and released the compilation series Future Sounds of Cape Town which he tells me was dubbed as the “Café Del Mar of Africa”. He also released the Breathe Sunshine compilation series which showcased SA Jazzy/House stars Goldfish for the first time internationally, and Afrolution – The Original African Hip-hop Collection. He now also runs the Breathe Sunshine Charity Foundation and lectures music business at the SAE Institute in Cape Town. As the lead singer and chief spokesperson for his band, he points out that his poetry and Africanism is representative of who they are as a collective.

“In order to be a truly SA band, we need to be proud of ourselves and our accents. That is what we do. We aren’t trying to sound European. We sound like ourselves and that is why we will break big internationally and play arenas. Too many SA bands like Just Jinjer try to have universal appeal by trying to sound European and American, and that is why they won’t break the international market. We plan to do things differently. I believe that what we are doing is at the forefront of South African music,” he reiterates confidently as we chat over coffee. I’m sitting with both Trenton and bass player, Thabo at a quaint restaurant off Long Street.

He continues… “I hate apathy and negativity in our country, everything we do affects the environment around us, we should be aware of this. We never would have freed ourselves from apartheid if we were negative; being pro-active is how we get things done. I was a member of the ANC in High School before it was unbanned and I’m proud of that.”

The birth of Free Radical

Trenton met Ibizan born guitarist, Marco Wielander, in London whilst Wielander was working for a label called Futureproof; Marco explains over email, “He had his own label and we kept on coinciding on aim (association for independent music) trade fairs and seminars and chatted a couple of times and generally got along well.”

A talented and passionate guitarist, Marco surprisingly enough found himself drawn to live music instead of the strong dance culture the island is so famous for.

He explains… “I think growing up in Ibiza puts you off DJs rather than wanting to become one, especially because most of the music was Techno and House. When I was growing up I was more into 70’s Rock, Reggae, Blues and Indie. Interestingly enough the trend is changing again and one of the trendsetter parties on the island ‘Ibiza Rocks’ who I worked for last year, are capitalising on this big time with amazing live line-ups every year.”

Trenton and Marco shared the same vision for what they wanted in a band; they used the UK network to form a foundation of support and were able to record their debut album Giant Step at the same Bloc Party Studio that Basement Jaxx, Estelle, Florence and the Machine, Slipknot, Muse and Oasis have used.

Marco is the only non-SA band member so why does he feel such a strong connection to the SA sound that Trenton alludes to?

“I see us more like a truly global band from South Africa with a touch of Ibiza island style, [laughs] funnily enough in Spain many people say Ibiza is not really Spain but Africa.”

Free Radical in the Mother City

Once they completed the recording of their debut album the decision was made to move to Cape Town. Having left their original drummer and bassist, Sam Chagumachinyi and Ugandan born Kaz Kasozi back in the UK, the duo needed a new rhythm section and immediately started the search. “Chemistry and bonding as a band” is vital, agree the duo as part of the recipe for success.

Says Marco… “We knew we had to find the right guys. We didn’t just want session musicians; we wanted band members, so they have to be more than just some guys that can play. We met Andre and Thabo and got along with them right away. I remember our first rehearsal with full kit in Salty Dogs studios. We did some acoustic rehearsals first” he pauses “…man, both Trenton and I looked at each other and you could see the joy in our eyes. It just got better and better since then!”

Their sound is a wholesome blend of mashed-up Reggae, Electronica and Hip Hop. It mostly coils around the future sounds of live music, and where most fusion bands are gearing toward in this decade. Their catchy lyrics, upbeat melodies and hooks make for easy listening and radio friendly air play.

“We try to make music that comes from a real and honest place” says Thabo.

Giant Step features their first single (currently playlisted on 5FM) Tomorrow’s Day with Faithless’ Maxi Jazz, which, says Trenton took Maxi back to his Hip Hop roots. Mr Mandela is also another catchy tune that celebrates the wisdom and character of the global icon and was in fact first released online, virally, a few years back.

Just when exactly did the inspiration for Mr Mandela happen, I ask Marco…

“I remember this one particularly well. Trenton sang me the lyrics for the chorus one day in his house and asked me what I thought, and I loved them. In my mind the track had to be happy and bouncy from the beginning on, nothing too serious, even though the lyrics are serious the song had to be fun. I have to give credit to Kaz, our bass player in London, who came up with the genius bass line!”

The Burning Question

The inevitable question though, and one they are bound to be asked over and over is just how did they meet with Maxi Jazz and end up doing the collaboration on Tomorrow’s Day? Trenton met Maxi ten years ago…

“He was really warm and welcoming; Faithless were just breaking and even though he was touring globally he was still living in this small one-bedroom council apartment as the money hadn’t started coming in yet. A year later I walked into his hotel room when they were in Cape Town and told him my band at the time, ‘Anti Gravity,’ was opening for them. We continued to bump into each other over a ten year period and he was always incredibly philosophical and supportive of me as an artist and I’m eternally grateful,” reveals the singer.

It may be early days for Trenton and Free Radical, but clearly they are on a music mission; glistening with a vision of global success in their eyes.

By the time you read this the band would have celebrated the launch of their debut album Giant Step at the Ibuyambo Music & Art Exhibition Centre in Cape Town. Typical to the mission they’re on the launch featured an eclectic mix of some of Cape Town’s finest to include Mr Sakitumi, Teba Shumba, Miggs Auer [7th Son], rapper Bakaman from Jam Jarr, Nhoza [Black South Easter] and DJ Fletcher and also saw the launch of the new album by Mr Bong.

The next step? World domination if Trenton has his way.

Read The Album Review

Cutting Deep: Newtown Knife Gang

Newtown Knife Gang. Hmm…sounds more like an organised crime syndicate, specialising in carjacking, dealing tik and spray-painting highway bridges, than an actual band. It makes you wonder if the Jo’burg rock quintet has seen the inside of an SAPS van more than a few times. “Thankfully, no,” frontman Spencer Martin laughs, before hinting that NKG aren’t quite saints, either. “Maybe we’ve been hassled a few times, but never had to visit the big house…”

Stitches Become the Knives

Disturbing the peace is something that 4/5th ’s of the band should know all about, as they rocked the hell out of South African crowds in their previous incarnation: 16 Stitch. As the newbie in the gang, Spencer confirms that he didn’t have to go through any weird sexual or violent initiations – just an audition or two. “Nick [Argyros, drums] was the first to get hold of me. I was minding my own business at work, when I got the call from Nick; he said he’d seen me perform with my old bands and wanted me to audition for their new project. I had a few studio sessions with Nick and Paul [Norwood, guitar], then we started work on the [self-titled] album.”

Hold up. So, instead of booking shows, the band decided to record an album first? “That kind of preparation was new to me,” Spencer admits. “In the past, and like most new bands, you just want to get out there. You play shows before even considering recording. With us, I had to be patient and understand that, when we dropped, we wanted everything lined up; a kind of assault on all fronts. When someone heard of us, we wanted them to look online and think, ‘Wow! They’ve got an album, music videos, merchandise, shows lined up…’, and immediately set that kind of elite standard.”

Spreading the Gang’s Oath

Finally finding their way out of the rehearsal room and onto the stage, NKG haven’t fallen into the trap of becoming city-centric, instead taking their show on the local roads. “I think that’s the most important aspect of playing in a band – especially, if you are doing it seriously. You have to branch out and take your music on the road. At the same time, it’s also the best part of being in a band; leaving life and its nagging responsibilities, on pause, while you travel with your best friends,” Spencer says.

All the planning and patience seem to have paid off, because NKG are hot property and in demand – even more so now, as their third single, Taste Goodbye, which features guest vocals by Prime Circle’s Ross Learmonth, claws its way up the charts. “The guys have always had a good relationship with the chaps from Prime Circle,” Spencer states, “[and] Frani [Kotze, Prime Circle’s manager], suggested Ross feature on a track, which was perfect, because we already had the idea of getting someone to feature – we just didn’t have an idea of whom – so, it worked out amazingly. He tracked for a single evening, and the result was so good [that] we had to release it as a single.”

New Legacy

Despite the initial hype and success of NKG, there were fears that, as the ‘new guy’, Spencer might be stuck living in the shadow of the legacy left behind by ex-16 Stitch vocalist, Andrew Maskell, who was highly rated by fans.

“When I joined this band I thought [the comparisons were] something I was going to have to consistently deal with – but, surprisingly, no. There hasn’t been much comparison,” Spencer assures.

Truth be told, it doesn’t look like there is much that could faze Spencer, who is enjoying the rock ‘n’ roll ride – and the parties. Oh yes – the beautiful, alcohol-fuelled parties! Mind you, as the youngest member of the group, Spencer is probably keeping the party alive by himself, while the other grandpas sip their tea and eat toaster waffles – right?

“I thought I could party…until I met these chaps,” Spencer laughs. “They take it to a whole other level, so I’d say I’m the one who has to keep up!”

Quasi Van Der Wat, Cheddamelt burgers and the Promised Land

Quasi Van Der Wat (Koos to his mum) is a trixy feller. You’re as likely to have bumped into him strutting a makeshift Hotbox or Tings ‘n Times stage in Snor City, as to recognize him as architect of the forthcoming Neon Maggots clothing range, or glow-in-the-dark kitchen appliances (neither of which actually exist, I’m merely illustrating the texture of his imagination and reach).

Founder of the once deceased, now louder than ever Black Pimp’n Jesus, Van Der Wat is also core member of alternative outfits Pink Noise and Havoc Vultures, most recently appearing on the debut release by the eyeball-stomping Battle Cock crew, Surviving 2013.

On Van Der Wat’s presence in the latter, says Kwelagobe Sekele (The Kwani Experience MC, all round musical make-it-happener, and rapper on Surviving 2013):

“Van Der Wat wrote a few tracks and blessed us with a couple of guitar solos which he shat in one-take. He wasn’t initially a part of the project – He’s a ghost we didn’t see that decided to make itself visible. It’s something different, this Battle Cock shit… We were longing to do something different and it had come in the formless of this ‘Post-Apocalyptic Joburg Grime’ collabo project.”

We poked around in Quasi’s head for clues and arrows to his merry forest of bands and brands:

Describe the moment in which you realised your fate to be music?

“Music isn’t my fate… it’s one of my guns. The other gun is visual. Audio and Visual are the two turrets of my invisible tank.“

You seem perpetually to juggle different outfits. What distinguishes one from the other – what, for example, makes the Pink Noise group distinct from the Havoc Vultures?

“They are different scientific formulae. Havoc Vultures is a sauce that is prepared by mixing the 4 of us – Lord Robotmule/Rodney Radical/Aegoslav/ Professor Mystery into melted cheese. It’s like when you mix the BBQ and Island sauces at Spur into the mushroom sauce of your Cheddamelt Burger. Pink Noise is Evert’s soup, with meatballs floating in it. I represent a pinch of salt in this soup, in the previous serving.”

You are decidedly a persona, rather than a person, and one which is not so much international, as inter-galactic in

persuasion. What, if anything, grounds you in the African continent?

“Africa is the Promised Land.”

You are most known for your work with Black Pimp’n Jesus. How did the band come about? Are they really dead, or just play-dead?

“We have risen to life again. Death is a form of sleep. It manifests in gradients across the consciousness of totality. The bassist of the previous age, Paul Vermaak, had a vision in a dream about the letters BPJ, and from there they came to Black Pimp’n Jesus, which is a multi-layered holographic word – fragmentally reflected in various aspects of the members’ lives. I was summoned to perform the role of ‘Guitarandrama’. From there, it’s been a slow trek across barren lands, much like the Boers in the Groot Trek.”

How do other media (TV, POP culture, fizzy colas) feed into the worlds of your songs?

“Sometimes when we write songs, we randomly skip through channels on DSTV, and from there we gather our seeds. Mostly, songs happen by providence.”

Lyrics and music have a duel to the death. Who wins?

“They both die.”

Tell us about your visual tank. What’s brewin’?

“Very gruesome images that are designed to scar children for life.”

The last album you heard that made the sky inflate/your boots wobble/your soul do a jig?

“I’d say Biomechanical – The Empires of the Worlds, which is Ultra Heavy Metal. It has intensity and technicality but still within a ‘Classic’ threshold.”

Where are you going to be when the cosmic meltdown hits us?

“I’m going to be like all the other losers who are going to the Drakensberg.”

Keep yer eyes and ears peeled for the bam-spanking new Black Pimp’n Jesus album In The Name Of, and all other things Quasi.