HARD ROCK

INTERVIEW WITH THE RED LIGHT DISTRICT

This new EP sees The Red Lite District return to their punk and grunge routes with a thunderous

collection of songs. With new drummer, Vitali Siliuk, the band sound fresher and more energetic than ever. The EP is a riotous blast of sound and melody from beginning to end.

The track ‘You Were Never in Love’ is the bastard child Nirvana and The Stooges never had: a

thundering and melodic bolt of lighting, this song just does not relent in its carnal nihilistic journey. ‘Be Adored’ also contains a similar aesthetic, this time it is more grunge than punk, with a moody anarchism brooding at every corner. ‘Living in Slow Motion’ tempers things down in speed but not meaning. This song descends on itself, reflecting on a life only half lived. The speed is brought back up with ‘Bored’ a track that straddles the line between pop, grunge and punk like no other. This song can hook you, punch you and intrigue you all in the space of three quick minutes. ‘Brute’ sees the band spit out some of the speediest and most powerful punk produced. This song recalls the notes of a murdered Polish poet during World War 2, this song is an energetic ode to freedom the world over. Finally, the EP ends with a blast of punk and oi with the track ‘We Are Al Working Class Now’. A play on the 1990’s New Labour phrase, the song seeks to harmonise the basic instincts of humankind - the classless pursuit of a good time. Every track here sees The Red Lite District at their energetics and melodic best. The lyrics are a captivating mixture of abstract and reality. This EP has something - if not everything - for modern rock fans.

(•)> Cru cru! What first got you into music?

I first got into ealy REM, I liked that style of alternative rock - moody and vague. Then I ended up hearing bands like Offspring and Bad Religion, and I loved the lace and energy of punk.

(•)> What's your favorite album of all time?

It’s a hard question. Possibly a toss-up between No Control by Bad Religion. But then there’s Acts of Joy and Resistance by Idles, and there’s also Document by REM. Too many. No Control by Bad Religion probably takes it.

(•)> What record from the 2020's do you replay the most?

Definately Comfort to Me by Amyl and the Sniffers.

(•)> What should the Pigeon listen to next?

Our new single Brute, when it comes out on 1st June. But if you’re looking for something before then, maybe Heavy Jelly by Soft Play

(•)> What memorable answers have you had to your work so far?

We’ve had some nice compliments - our drummer Vitali has had some great compliments, which is brilliant because he’s brilliant.

(•)> Who is your inspiration when creating music?

We don’t have too many. Musically it’s a bit of a mix, REM, Nirvana, Pixies, Pumpkins, Bad Religion, Stooges. We just write things as they come. No particular focus.

(•)> Which film do you rewatch the most?

Killer Klowns from Outer Space!

(•)> How is your perfect day?

Drinking whisky cocktails!

(•)> Will you tell us something embarassing about you? (•)> Do you sing in the shower? If yes, what's the setlist?

Yes, but I can’t think of anything I’m embarrassed about! Hmm…this is hard. Does liking the ballet count as embarrassing? If not, I’m willing to admit I once listened to the boy band Blue!

INTERVIEW WITH ASYLUM 213

Asylum 213 present what they believe only further reflects the band at its pinnacle point. Given the many ups and downs experienced by the band themselves, individually and collectively, over our now 6-year tenure as a full band – this one feels personal. No matter how much we, as a band, can define our relations to the meaning behind these lyrics, however, it all remains open to interpretation for each and every listener. You have your own story, your own journey you’re going through, let this song be nothing more than a reminder that the peace you’ll find at the end of that journey is worth every step you continue to take to get there.

 (•)> Cru cru Asylum 213! What first got you into music?

Dylan: I think growing up in a house with two hippies (my mom and dad) and hearing all the fun stuff they listened to, especially given my mom was getting me into stuff like Talking Heads, Frank Zappa, Jimi Hendrix, Robin Trower, etc., as we as my dad getting me into blues stuff like Stevie Ray Vaughn, B.B. King, Buddy Guy, and some bluegrass even, and not to mention my brother always listened to the coolest stuff ever to me as a kid and then growing up as well, which really helped shape my music taste as well; Moreover, all my mom’s brothers and her dad were superb jazz players and her brothers would come over when I was little and play neat music or talk about some ‘hidden gems’ of artists themselves, so you basically had this melting pot of influences for me to get into all kinds of wild stuff, both typical and different for kids my age to have been listening to. By the time I was about 13 or 14, I pretty much wanted nothing more than to learn how to play guitar like any of those people and go somewhere with it. I was really into Buckethead and a ton of other fast players (like a lot of kids my age that just discovered ‘shredders’) and while I don’t really consider myself a ‘shredder’ like that for at least the last 6 or 7 years, I think every single piece of music I heard growing up, everything I learned or attempted to learn on guitar, every person I met, every experience I had, every band I was ever in, they all helped shape my love and passion for music and I definitely don’t think I’d be who I am today or have made it this far with it without any of them.

Dexy: I feel like I can't think of a time in my life where I wasn't vibing with some kind of music. One of my favorite things as a very small child was a little Care Bears cassette player. I listened to a lot of Simon and Garfunkel, Rascals, Beach Boys and a whole bunch of Motown in my childhood, whatever my dad had. As I got a little older I found Genesis and dove very deep into their discography and all the solo projects. I definitely had a phase in middle school where Monty Python was always in my player. Most of my teens was an obsession with The Who and The Jam and a bit of Northern Soul even though it was a little harder for me to access that until the later 2000s. Summer of 1998 my life changed when I went to a punk show and I began digging into more modern genres outside of mainstream radio and started going to local shows regularly. I have a lot of points in my life that I remember the event/feelings/moments related to an album or song I was listening to at the time as it was part of how I got through it. Shout out to Matt Berry’s new record, Heard Noises for being a bit of a spark for me recently to break through a bit of personal mental block around music.

Silky: Not even gonna lie, playing Guitar Hero 3; and FCing “Through the Fire and Flames” by Dragon Force in my preteen years!

Ben: As a small kid, I would get most of my music from my parents and grandfather. The first bands I was really into were John Fogerty, Journey, and Rush, who inspired me to pick up the guitar and aspire to play live. In middle/high school I started teaching myself drums, learning primarily blink-182 and Green Day songs until I discovered Avenged Sevenfold and The Rev. They pretty much single-handedly launched me into heavy music, and The Rev’s influence honestly sticks with me to this day. I’d say a special mention should also go to Josh Manuel, as I transcribed a full album of his drumming in high school and still find myself thinking “what would HE do here?”

 (•)> What inspired you the most when creating Prolonged Exposure to Delusion?

Dylan: In 2023 it truly felt like my life was over. I had failed in yet another relationship and I carried (and still do a bit) a lot of guilt and self-loathing for it. I truly began to not recognize myself as a person and just kind of wallowed a bit in being depressed, wanting to feel sorry for myself but couldn’t because I felt I deserved every ounce of pain I was feeling, and thought I didn’t deserve anything good at all anymore. I think I still struggle with that a bit, but, I really fell apart that year and got to some incredibly abysmal lows, which I’d also been experiencing lows as was from other things about a few years or more leading up to that. Not saying any of this for sympathy, just, that’s the reality of what happens to you when you lose yourself and don’t know at all how to come back, I suppose. That person I was with never deserved to deal with that version of me, even if every part of that relationship got to a point where it was awful and neither of us were great to each other, I can only be responsible for and attest to me and I just hope that I never let anyone down like that again. But that entire year leading up to last, I realized I had multiple issues mentally that I needed to really address, even if I hadn’t done extremely horrible things, I just did not feel good about who I was and didn’t like the fact that I felt like I was addicted to unhealthy things just to ‘feel okay’ for even a second. None of it helps. Anything you do to cope that you second guess or feel guilt about, no matter how you cut it, is just something wearing you down. A year of therapy and a lot of sitting with myself, having a total mental breakdown, and really tearing myself apart and rebuilding later – I feel stronger and like I’ve really gotten myself on a better path. But, I never want to consider myself perfect or like I’m not a constant work in progress like any other human. I only wish for the ability to accept what I can’t change, the strength for what I can, and the wisdom to know the difference, like anyone who has to heal and do better, y’know? Anyway, long story short, “Prolonged Exposure to Delusion” is pretty much about that, accepting where you’re at, putting your pride away, and just trying to do better because deep down you love everybody and don’t want to hurt them anymore, and you have to learn how to stop hurting yourself in order to help do that, too. It’s really a song about breaking down and trying to pick up the pieces, something I’d done many, many times up until a year or so ago. It’s fun to play, but it does hit me a little bit each time we run through it, in practice or live setting (although as of this interview, we’ve only played it once so far).

Dexy: I just allowed myself to focus on the music tied with the feelings Dylan had described and how that could be conveyed. I kinda leaned into a somewhat busy bass part that kind of reflects the chaos of our minds when we are struggling.

Silky: Writing my parts in particular, I really aimed to write for comfort; something the person going through troubled times can hum. Something they can remember, that there’s people that are here for them.

Ben: I was honestly inspired the most by my fellow band members’ parts - each one gave me a new perspective on the song to consider when laying down the drums. It also helped that we were able to perform it together a lot both while writing AND recording it! There’s also a special rhythmic Easter egg somewhere in the song that is fully based on a popular game franchise… I had a lot of fun with this one.

 (•)> So far was the journey of Asylum 213 worth every step?

Dylan: Asylum 213 and all the other members in it, Ben, Dexy, and Marvin (Silky), are some of my most favorite people in this world that I think I would and could do anything in the world for. Some of my best friends I’ll ever have and people I trust with my life, and I don’t know that I’d want to do this band without any of them. Same goes for our old drummer Hunter. If you’re lucky, you get in a band with awesome musicians that vibe with you well for a little while, but to have people that connect with you on such a deep level and just absolutely match your energy on some wild chemistry you haven’t quite felt in other bands you’ve been in before? That’s a blessing. That’s something I always want to stay humble about. We’ve been a full band for about 6 years, going on 7, now. Everything you go through helps shape it and I can’t say I’d want to really change anything because doing so wouldn’t have helped mold us to what we are now. So yeah, absolutely worth it and couldn’t be more proud of us as a group currently.

Dexy: Yes! I didn't start playing music until I was almost 30, I was about 34 when I went from drums and I picked up a bass for the first time. I had childhood piano lessons and had played percussion in high school, but pretty much by the end of high school was pretty much told I had no aptitude for music and I gave up any thought of ever being a "musician". When the opportunity to join Asylum 213 came along and I have been amazed by the growth and experiences I have had with this project and these amazing friends. It has been priceless. There have been hard times, but there is no other group of people I would want to go through it with and often I feel like I am a lot better at laughing off the small stuff and staying strong through things that used to crumble me. I have a lot of love for the songs that Asylum 213 has and sharing that with others almost as a fan to a fan means so much. For me, this project is a reminder that if you want things in life and are willing to put in the effort, it’s never too late to start and anything you are passionate about is worth the effort.

Silky: Giving you the boring answer; Yes, a thousand times yes!

Ben: I’ve been blessed with an immense amount of joy and fulfillment from the time I’ve gotten to spend with these guys. Just in the past year, I’ve performed in a bunch of cities I’d never been to, gotten to write to some of the craziest songs I could ever imagine, and met some of the coolest people ever, all playing music with these guys. Even when we’ve had our low points, like Dyl talks about before and during Subi when we play it live, we’ve kept each other going and it has indeed been worth it every step of the way, in my book.

 (•)> What mathcore records do you recommend the most?

Dylan: I feel like I don’t know a ton about the actual mathcore scene, per se. But some records (both new and old) that I really love and/or think you should check out are Thin’s latest, the overlapping nature of things, Dillinger Escape Plan’s Ire Works, Belted Sweater’s self-titled record that just came out last month, Jeromes Dream’s The Gray In Between, and Miracle Blood’s Hello Hell. Some of these artists may not exactly be ‘mathcore’, but they have adjacency and each of those records are total bangers. If nothing else, you’ll likely find a new favorite amongst anything you delve into by any of the above! Dillinger Escape Plan is/was like the closest thing we got to another Faith No More (to a degree) in my opinion, in how they left a legacy after writing music more outside the box similar to how FNM did. Oh also, if somehow you don’t know about Faith No More, or really anything Mike Patton’s involved in, definitely check any and all of that out ASAP, too!

Dexy: I got introduced to mathcore largely from my bandmates, but the albums I have found that stick with me most in my journey into the genre (in no particular order) are The Number Twelve Looks Like You’s Put On Your Rosey Red Glasses, Dillinger Escape Plan’s One of Us is the Killer, Converge’s Jane Doe, and Bilo'u’s muzjou. Dylan introduced me to Deadguy and Fixation on a Co-Worker is really fun.

 (•)> What are your favorite shoegaze albums of all time?

Dylan: Oh, this one’s much easier for me. Shoegaze is absolutely my jam especially as of late. Nothing’s Tired of Tomorrow, Cloakroom’s Time Well, Cold Gawd’s I’ll Drown On This Earth (“Tappan” is a track in particular that will literally do glorious things to your nervous system, I swear), 9Million’s Between Us (although I’m not sure if they necessarily consider themselves ‘shoegaze’, but they’ve got a few elements here or there and wowee does “Never Knew” need to a track you spin at least once), and literally anything Vyva Melinkolya has been up to in the last 5 years. Even if she isn’t necessarily ‘shoegaze’ either, impeccable artist that does dip a bit in the style, too.

Dexy: I second all of the albums Dylan mentioned, all of them stay in my rotations. It is so hard to pick “of all time” because I feel like sometimes my favorites change with my moods. There are definitely older albums I spend a lot of time with like Cold Gawd's God Get Me The Fuck Out of Here, the songs never get old and same with Nothing's Guilty of Everything. The newest release from Cloakroom, Last Leg of the Human Table, is definitely going to be on a repeat for a bit for me along with Cigarettes For Breakfast's newest album, Slow Motion. Some other favorites are Niights' Hellebores, Feeble Little Horse's Hayday and Balms' Mirror was a happy accidental find for me. I also love some of the mainstay classics like Slowdive's Souvlaki and My Blood Valentine's Loveless.

 (•)> What's your favorite noise rock LP of all time?

Dylan: Currently, I’m really digging Hello Hell (2024) by Miracle Blood as well as Congratulations (2023) by EYES. I’m not sure what a ‘favorite of all time’ would be for me, but probably some classics and definitely almost everything The Butthole Surfers did in the way of noise rock.

Dexy: Tomahawk sits with a leg in the noise rock vein and for some reason that I don’t know how to put into words, Tonic Immobility continues to call to me regularly for repeated plays.

 (•)> What fascinates you the most when you're listening to pop music?

Dylan: Pop just has had such an evolution, I think people like Lady Gaga have been my favorites – someone who comes out and definitely makes what you’d consider ‘pop’ music, but does all kinds of weird and somewhat experimental things associated with it, unapologetically. The mainstream needs those outliers. But anyhow, I just dig how fun pop can be while also pulling off some weird/cool things here and there as well.

Dexy: I’m not the biggest fan of pop music, although I definitely appreciate power pop and McFly is a guilty pleasure from time to time, but I think the thing that is most fascinating for me is the ability of pop songs to hook in your brain to create earworms. I do try to find ways to seek those melodic or lyrical lines that just live in your brain rent free with other “styles” of music.

Ben: Not to jump in here, but I am honestly impressed with people who can make hooks out of thin air. Catchiness is so ambiguous to me personally, but we all know it when we hear it, and people who can tap into that all the time are impressive. I don’t listen to a ton of pop music regularly but I am interested in how it’s evolved alongside the music industry over the years.

 (•)> What sludge release should the Pigeon listen to?

Dylan: Anything by Uncle Acid & The Deadbeats and/or Red Fang.

Dexy: Acid Bath's When the Kite String Pops

 (•)> Dylan, what's the setlist when you're performing in the shower?

Dylan: Lol, we usually start with a few Celine Dion numbers and end off with some REM or Alice In Chains. Also probably something off of Oklou’s choke enough, because I’ve been pretty much obsessed with that record since I first heard it shortly after it came out last month.

(•)> What song does Asylum 213 save for the encore?

Dylan: We don’t do many encores, truly, but when we do? I think we used to do “Sundrest” a lot for them. I think that’s something we’ll probably revisit and come out with a ‘secret weapon’ for, so to speak. But really, given they only happen at random and on-the-fly times, we usually just pick something likewise on-the-fly, hahaha. Maybe one day we’ll have a more solid answer for that…maybe.

"Snake 25 starts with a moody, somewhat somber intro, and shifts into hard rock for the body of the song. The lyrics are a mix of personal confession and Gnostic imagery."

This powerful track, born out of the challenges faced during the global pandemic, delves into the theme of community and connection in a world filled with demands. With influences ranging from Bon Jovi to Bruce Springsteen, this song delivers a message of love through its uplifting tempo, catchy hooks, and impactful blend of powerful guitars and hard-hitting drumbeats.

"The sound of Splikak! is a harmonious blend of acoustic serenity and the raw power of rock, creating a dynamic musical landscape that oscillates between ethereal psychedelia and raw emotional intensity."

"King Cobra is Sonic Panda's new single, a humorous take on toxic relationships mixing electronic music and industrial rock. Their music is a blend of electronic pop-rock with eclectic influences that go from European industrial to Chinese pop. Sonic Panda aims to transcend cultural boundaries with their infectious melodies and not-so-subtle dark humor; after all they are not just any f###ing panda, they are Sonic Panda!"

"This is our newest single from our upcoming 2nd LP we call "A Piece of Broken Glass" which we are releasing later this year. This song means a lot to us and we flushed a lot of our feelings and state of mind into it and we hope you enjoy it."

Can you imagine what a band composed of an 80's rocker, a punk rocker, a neoclassical death metal rocker, an angel and a demon would sound like? Probably not, but then you also haven't heard Transcending Into the Unknown's debut album 'The Journey'. The album contains six tracks that clearly show the band's creativity and unique diversity, as well as the genre-busting musical curiosity that constantly drives their journey further into new and completely unknown musical landscapes.

With a history deeply rooted in the 90s black Metal-Era, Ungoliath's music is a testament to the enduring influence of the genre. Despite being a one-man project, Ungoliath's sound transcends boundaries, creating a sonic landscape that is both introspective and powerful.

"Tauranga, New Zealand’s Threat.Meet.Protocol. aren't your usual noise-punk trio (if there is such a thing). Abandoning guitars, their setup of drums, keyboards, and bass allows bassist and vocalist Austin Cunningham to deliver driving, Mike Watt-style bass lines, while keyboardist Luke Turner unleashes a barrage of wild synth noises. Drummer Evan Pope completes the lineup, providing intricate beats that keep the energy high without overwhelming the band's sound."

The Region - Never Looking Back (2025)

"Never Looking Back" is a powerful narrative of betrayal and the irreversible impact it has on personal relationships."

SickRichard - Drain (2025)

"Glued to our screens, absorbed by technology, drained by the modern world. Are we living in a dystopian nightmare? Led by mechanical synth, this infectious banger from SickRichard bubbles under with mundane, grooving bass until an anthemic chorus rips through letting it all out. Trapped and under control, we need to escape but don’t know how."

INTERVIEW WITH ROSETTA WEST

(•)> Cru cru Rosetta West! What first got you into music?

I have always been musical from as far back as I remember, but hearing Jimi Hendrix made me want to play guitar!

(•)> Have you ever seen Jimi Hendrix playing live? What's Jimi Hendrix's Magnum opus and what's your favorite song from this legendary music icon?

My favorite is a live recording of "Are You Experienced" found on an old album called "The Jimi Hendrix Concerts". It was later put out on the live Winterland collection, with a slightly different mix.

(•)> I remember checking out "Are You Experienced" a few years ago - it's a cool record! Why is that version the one you value the most?

It's just so epic-sounding, like an interplanetary epic! They took really some cool echoes off his vocals on the Winterland release, but it's still awesome!

(•)> What about Electric Ladyland?

Yeah. I love so many tracks on there, but 1983 seems like a great achievement. Hendrix played bass on that as well. "House Burning Down"..."Still Rainin' Still Dreamin'", oh man, so many great songs on that one.

(•)> What inspired you the most when creating "Night's Cross"?

I'm 56 years old and I feel a lot of pressure to get my music out more than ever, especially on streaming platforms that I was late to take advantage of. We're going at a pretty frantic pace but I can't let up now. I love my music and I want as many people as possible to hear it before I'm done. Drive and desperation, ha ha.

(•)> Drive and desperation are pretty damn powerful tools! Can you take us through the album art? What's the meaning behind the six flaming red crosses?

They have multiple meanings, going back far in time. But most recently there was an incident which gives even more resonance to the cover for me. I live near a wooded marsh which is very beautiful but has some darkness to it. I personally found a dead body in there two years ago, and recently I just missed finding a man who had set himself on fire in the reeds and died. You can still see the charred spot - kind of like "X" marks the spot. Not sure I want to include that in the album story. It's pretty harsh.

(•)> Damn, that's pretty dark. I can't even imagine what it is like going through something like that... What film inspires you the most when creating music?

I don't think about movies when I'm making music. I think Led Zeppelin's "The Song Remains The Same" movie seeped very deep into my DNA, so it's probably always there subconsciously. I am a fan of good movies though and I've been influenced by the imagery in films like Apocalypse Now and Angel Heart.

(•)> Fair enough, I'm also a big fan of Apocalypse Now. The scene that plays "This Is The End" by the Doors is pure cinema!!!

The Colonel Kilgore scenes (Robert Duvall) in Apocalypse Now are priceless.

(•)> I added "Angel Heart" and Led Zeppelin's "The Song Remains The Same" to my watchlist! What is your favorite album released by them?

I love the studio albums but I'm a bootleg fanatic. June 21, 1977, and April 28, 1977, are two of my favorite shows. But I'll go to "Physical Grafitti" for the studio work.

(•)> Do you agree with the Pigeon?

My main experience with pigeons is from living in Chicago. I admire them. They've learned to live and thrive in an urban environment with humans and they seem gentle and loving and unafraid. So yes, I'm down with pigeons.

INTERVIEW WITH MR. AUTUMN

(•)> Cru cru, what first got you into music?

Most people don't know this but it was actually quite petty hahaha. A teacher was praising a kid in school that he had potential to be a drummer and I was doing the exact same thing as he did. So out of spite, I started taking drum lessons and then I rolled into the world of music.

(•)> You're not the first nor the last entering the music world for petty reasons, but your story is still hilarious!!! Who's your favorite drummer?

Ooof, a favorite drummer is so hard. I like song drummers like Ringo Starr obviously. I still think his fills are innovative and I use them often. I love prog drummers like Mike Portnoy, Gavin Harrison, and Danny Carey. One local drummer/singer I adore is Stephanie Mannaerts. She hits like a girl, like really fucking hard! Power woman!

(•)> What are your thoughts on "Whiplash"?

I think movies like Whiplash and Sound of Metal are good to get people to love those genres of music but it paints a bit of a overdramatic picture. It seems more like an Olympic sport than music. J.K. Simmons is brilliant though. Love his performances in every movie or series he does!

(•)> The Sound Of Metal isn't like Whiplash at all, It's about a drummer dealing with ear-loss. Are you a fan of earplugs when attending a live show?

I haven't seen the sound of metal but I have a bit of tinnitus myself, it sucks. I tend to wear earplugs as much as I can. As a producer, I listen to so much music that I tend to avoid listening to music outside e.g. when I'm walking, on the train. I need to be able to absorb my surroundings a bit and balance sounds. There are 95 Db norms everywhere so I think things aren't as loud as they used to be. For singer-songwriter evenings I tend to go without because they are more quiet and intimate.

(•)> I also have a lot of respect for Ring Starr's percussion! Did you see Peter Jackson's "Get Back"? Is "Octopus's Garden" one of your favorite songs by The Beatles?

Get Back is a great film! It really feels like you're there. Octopus's Garden is pretty cool, but I prefer Revolver songs like 'She Said She Said'

(•)> I love the drumming of Meg White (White Stripes - White Blood Cells), Jeremiah Green ( 90's Modest Mouse) and Pattrick Wilson (Weezer - Pinkerton) Do you have any thoughts on these?

I haven't really checked Modest Mouse nor Weezer. Meg White does the bare basics and makes it work. You can't not respect that! Another song drummer.

(•)> What about John Paul Jones and Brian May?

JPJ is a legend, really like how he's a multi-instrumentalist. Organs, mellotrons, mandolins, you name it. He's that little piece of magic that makes Led Zeppelin rise above. It's like Richard Wright in Pink Floyd. Often overlooked, but they made the psychedelics, and orchestral parts really come to life. Brian May is a legend, enough said. He has an instantly recognizable guitar tone, made his own guitar, and overall he's just a class act. A real gentleman and scholar.

(•)> What metal/ prog records from bands such as Porcupine Tree, King Crimson, and Dream Teathre would you recommend to me the most?

When it comes to prog you can't go without Opeth, the sheer body of quality albums by them is staggering! I reference a lot of melodies and chords in my music and they're one of the reasons why I got into heavy prog metal. Of course, I like modern acts like Plini and Animals as leaders. But as far as songs with vocals and growls go, Opeth is the supreme leader!

(•)> Opeth's Blackwater Park is an amazing album!!! Do you agree with the Pigeon?

Blackwater Park for sure is a Masterpiece, they only have bangers! Ghost Reveries and Heritage are my personal favourites. I do agree with the Pigeon!

"Jack Vesk unleashes unbridled creativity, fusing Techno and Psytrance into electrifying soundscapes bursting with raw energy and awe-inspiring vibes. Recorded in his old home in Berlin, "System Takeover" encapsulates Jack's artistic evolution and dedication to pushing boundaries in music production. The absence of structural repetitions in the track keeps the listener engaged, as each section unfolds in an unpredictable and captivating manner."

"Delivering brash “big pick energy,” band YACOVELLI’s debut single “Red Eye” soars with a chunky Neo-Grunge swagger reminiscent of DIY punk predecessors Nirvana and The New York Dolls. An anti-anthem for social media-driven travel culture, the song taunts at and celebrates the jet-setting lifestyle and the illusion that the singer’s airbrushed life at 40,000 feet is picture perfect."

"Barking Poets released 2 brand new singles "Part of the Problem" and "We will Overcome". Barking Poets debut full length album is set for release in 2025."

INTERVIEW WITH DONNY DRACO

1. Hey Donny, super nice to have the chance to chat with you! First and foremost what got you into music?

Hey what’s up, glad to get a chance to talk with you and answer some questions! I got into music around middle school. I played the drums at a young Age, was in band at school for awhile and actually did choir for a short time in high school. I started writing music at the end of high school and I had a friend (Garret Adams) that also started producing beats then. Our other friend (Jed Tonkin) made music with us, and built a fully functional studio in his backyard after we graduated. Garret still produces most of my instrumentals and I still record at Jed’s studio to this day.

2. What would you be doing right now, if it wasn’t for your music career?

Currently I am still trying to make this music thing a “career”. It’s hard being a new independent artist but I’m working on making it happen. If I wasn’t making music at all, who knows what I would be focusing on in my life

3. What are your long term goals?

With music, my goals are really to make it become my full source of income. I would love to be able to become well known, see the world, and share my music with as many people as possible. Ideally, after all of that I would keep creating in other forms of media, and take money that I earned and invest it in ways that would allow me to have an income for the rest of my life. I also wouldn’t be opposed to making films, acting, and getting into the NFT creating game.

4. How do you spend your time?

Most days I try to create something musically. Whether it is working on instrumentals/beats, recording, or filming something. If I’m not making music, I’m usually hanging out with my girlfriend, making art, traveling or doing something outside. If it’s winter I’m snowboarding, and I’m trying to get back into skateboarding this summer.

5. What makes you the happiest?

Well obviously creating (music/art) makes me very happy. Spending time with people I care about makes me happy. I also value the time I spend with just myself a lot.

6. What is the biggest decision you’ve had to make?

It’s hard to think of something on the spot really. I’d say that moving back to my hometown during the pandemic was a big decision. I wasn’t making much music at this time, but coming home allowed me to access the things I needed to make music frequently again.

7. What’s your favorite Youtube channel?

Well outside of music channels, I am actually a big fan of Good Mythical Morning. I have been watching Rhett and Link content since I was a kid and still find entertainment in the daily show they do. Also a big fan of the Bombhole Snowboard podcast.

8. Describe a real-life situation that inspired you?

I had a cousin who was one of my best friends my whole life. He was a very talented musician and songwriter, always in bands and playing/recording. Sadly, he unexpectedly passed away last summer. The last time I visited him before he passed, he told me I should start making more music again, but to just be myself and be more genuine. So I did.

9. What’s your fav movie? Can I guess Donny Darko?

Donny Darko is up there on my list, and did inspire my name! But I would have to say my favorite movie of all-time is the first Matrix movie.

10. Do you consider yourself a music - nerd?

 I don’t really consider myself a music nerd. There are some people out there that know so much about playing multiple instruments, music theory, different bands or artists, etc. I just know the music I like and like to make, and try to learn everything I can.