Veil of Maya Talk Music and the Zombie Apocalypse

Veil of Maya have been riding a new wave of metal commonly referred to as djent for several years now. The music can be somewhat technical in its nature and also very complex at times. The band burst onto the scene back in 2006 with their debut album All Things Set Aside and quickly began winning over fans as well as critics. Their 2010 album [id] took them to a whole new level and really raised the bar for them as well as other djent bands. We recently caught up with guitarist Marc Okubo to talk about their brand new release Eclipse.

Music Is My Drug Of Choice: Hey Marc, how are things going for you?

Veil of Maya: Things are going really well! Today is an off day for me and I’m about to go see the Bulls play, so it’s going to be a fun night.

I didn’t know that you were a basketball fan. I wonder how many of your fans already knew that piece of trivia. Well, I definitely don’t want to make you late for your game, so let’s jump right into this thing. Your album Eclipse was just released. What’s the word on the streets about it?

The initial feedback has been overwhelmingly positive! There has been only one common complaint amongst the fans and that has to do with the length. A lot of people are unhappy with that. We wrote it and had originally planned on releasing it last summer, but we didn’t. I feel like the listener gets the full album effect, even though it’s short. I mean, we could have added a lot of filler and instrumentals between the tracks, but we chose not to.

So, how did you guys hook up with Misha Mansoor from Periphery and decide to use him as the producer?

Well, he’s a very good friend of ours and we had been talking about collaborating together with him. He said he wanted to try a demo and see what the results were. I think it was in May of last year that we tried him out and we really liked the results. I had written about 90% of the album, but I still needed some transitions and a few bridges. Misha helped me out with those. I wrote tons of riffs and then he helped me piece them together and he helped to write the transitions. It was like he was an extra member of the band.

So, how did he challenge you guys as musicians to top your last album [id]?

This album was much more experimental than the last one. This one has an old school feel to it. It was more like a four piece band being locked in a room and jamming. We also had the majority of this album planned out before we started recording. The production is also a big difference. It’s like a movie soundtrack; all detailed with orchestration and a big choir.

That’s a great segue for my next question. I think the instrumental “Eclipse” is an amazing song. Do you purposely set out to write an instrumental or do you have the music layed out and you can’t write the lyrics around it?

It’s one of those things that just happens. I actually wrote that on the Summer Slaughter tour in 2010. It all came about when I was jamming with Havier from Animals as Leaders. Our producer Misha heard me jamming on it in the studio. He just looked and told me that it had to be on the new album. I think it’s really cool and it has a Final Fantasy sound to it.

So, I know your tour with In Flames and Trivium has ended. I know you guys are dying to get back out on the road. Do you have any definite plans yet?

Well, we have plans to tour Japan and Hawaii and the Europe in May. We will be back here in the states for the summer doing the Summer Slaughter tour.

You guys are definitely road warriors! I, for one, cannot wait to hear this new material live. Speaking of live, do you have any kind of routine that you do before taking the stage each night to play?

I always drink two beers before going out there. I also have this thing that I do where I put an extra pick somewhere on the stage just in case I need it. The funny thing is I have never had to grab it.

I have to ask you my guilty pleasures question. Do you or any of the other guys in the band have any that would surprise your fans?

Well, it’s safe to say that nobody in this band listens to metal. If you put on that song “Moves Like Jagger”, then Danny and I are going to be singing along at the top of our lungs. Oh yeah, and Katy Perry’s “ET”. That’s my jam right there!

I’m not sure if you’re a fan of The Walking Dead, but what three necessary items are on your zombie apocalypse survival checklist?

Lets’ see, it would definitely be a car and keys and a crossbow. I do watch the show, but I am such a big technology nerd that it drives me crazy. I mean, I don’t get why there’s no internet or cell phones being used. The lack of technology on that show just drives me crazy!

You make a good point there, I never thought about that. Well, as much as I hate for all of this fun to come to an end, you have a ball game to get to. Marc, it’s been a pleasure and I hope we get to make it to cover a show of yours during the upcoming summer touring season. The new album Eclipse is something really special and we encourage everyone to take the time to check it out.

3 Inches Of Blood's Vow To Keeping Metal Alive

The Canadian heavy metal band 3 Inches of Blood has a method to their metal madness. Early on in their career, they found their groove and their musical comfort zone and the settled in. The band has released four albums and has shared the stage with such heavyweights as Machine Head and Ozzy Osbourne. In a weird twist of circumstances, their 2009 album Here Waits Thy Doom was their first album that didn’t include any of their original members.

Here we are, ten years after their debut album Battlecry Under a Wintersun was released and they haven’t really strayed from their original formula. It has won them over a legion of devoted fans, but is it enough to keep their interest for yet another release? Let’s put this album on and crank it and see what it has to offer listeners.

The album opens up with “Metal Woman” and the intro riff conjures up visions of old school Iron Maiden. The thumping bass line takes over and then Cam Pipes enters the song with his trademark voice. Is the song cliché? Is it tongue in cheek? Does it really matter because in the end, it just rocks! “My Sword Will Not Sleep” continues in the same vain with an added standout performance on drums by Ash Pearson. The guy’s a beast on this track!



“Leather Lord” is up next and with a title like that and the 80s influences; you may be asking yourself if this is an ode to Mr. Rob Halford of Judas Priest? Well, I will let you be the judge of that one after you do an air guitar solo to some serious shredding by the two guitar attack of Justin Hagberg and Shane Clark. There also some rough vocals added to this song that bounce off Cam’s normal delivery really well.

“Chief and the Blade” is one track that totally took me by surprise. The song has a mellow and tranquil intro that includes a flute ala Jethro Tull. A two and a half minute instrumental that almost sounds like the soundtrack for a renaissance fair. There are no ear piercing screams or wailing guitar solos. Is this just a part of experimentation by the band? I’m not sure, but I guess time will tell.

The last two tracks on the album are very interesting and entertaining while managing to be complete opposites of each other. “Men of Fortune” is epic in style and substance as it clocks in at over seven minutes. If one song on the album defines the sound of 3 Inches of Blood, then it would be this song. The last song, “One for the Ditch”, is another instrumental that will catch you off guard. It starts out with an acoustic guitar playing and slowly builds in its intensity. The guitar work at times has a Spanish flavor to it. As the intensity builds, so does the guitars as the chugging guitar riff starts to come in behind the acoustic. It really starts to rock out about mid-way through before ending on a calmer, somber note.

In this case, the title of the album is definitely fitting. This is an ode to the metal that has preceded us and a tip of the hat is given in respect. It’s old school flavor with a touch of today’s sound sprinkled in for good measure. It’s a fun album and very enjoyable. Does the band push the envelope this time around? Well, they definitely don’t reinvent the wheel on this album, but they sure do know how to rock out and have a fun time doing so.

Veil Of Maya Shine On Eclipse

Veil of Maya have just unleashed an album that is sure to catch the attention of listeners and critics alike. Their new album entitled Eclipse surpasses the high expectations already placed on this young band. It’s the follow-up to 2010’s [id] which was a hailed by many as being close to perfection. So, how do you follow-up such a ground breaking release? It’s not always easy, but you dig deep into that create reserve that truly talented artists have and you raise the bar on yourself. That is exactly what Veil of Maya has done.

The album opens with the instrumental “20/200”. It’s barely over a minute in length, but it definitely wets your appetite and makes you anxious to hear what’s next. It leads us into “Divide Paths” which is brutality at its finest. The riffing of guitarist Marc Okubo combined with the drum attack of Sam Applebaum creates a sense of brutality at its finest. What a lethal combination these two guys are!

At times, Marc and Sam seem like two young kids competing for their parent’s attention. Maybe it’s a case of that that game “I can do anything you can do better”. “Winter is Coming Soon” is a prime example of that. The drums and guitars are insane on this track! It’s almost staggering to listen to them and not be in awe of their sheer power and intensity.

There is a lot of attention being given to the production quality of this album. Producer Misha Mansoor of Periphery listened to the vision that the band had and he delivered in a major way. The band wanted the production to be over the top, with a big, more detailed sound. I think all you have to do is listen to one song to be able to hear how substantial of a difference there is. The drums have definitely been brought more to the forefront and counter the barrage of riffing being done.



“The Glass Slide” is another standout track for many reasons. It packs all the intensity that you would expect as well as the intricate layers of guitar work. The vocals combine the lower end, growls with the higher end screams that work really well on this song. The song also has that big, orchestration sound near the middle that adds such depth to the song.

I have never been much of a fan of instrumentals from a metal band of any genre, but Veil of Maya may have swayed my opinion on this matter. “Eclipse” is such an amazing song that showcases a different side of the band that is rarely heard. This track isn’t necessarily a ballad, but its pace is somewhat slower than the brutal assault of most songs by the band. Marc and Sam are somewhat more somber on this track. The intensity from both is there, but it’s more melodic than on the other tracks. It’s a very cool composition from the band and showcases a side of them that should be tapped into even further.

The album is solid from beginning to end and all the guys have really stepped up their game. It’s still hard to believe that the album has ten tracks and clocks in at just 28 minutes. I can see how people can view this as the glass being half full or half empty. They could have put tracks in there to lengthen it out, but you don’t want to put filler in there just to adhere to what a normal album length is suppose to be. It’s 28 minutes of intensity and brutality and you get more in that 28 minutes than a lot of bands pack into an album twice its length.

Although short in length, this album packs quite a punch and is highly recommended. If you are into metal core or progressive metal or if you just like to crank it loud and headbang, then Eclipse by Veil of Maya is well worth the investment. This one deserves a second listen immediately following your first to truly appreciate the depth that this band has to offer.

I The Breather Find Their Truth and Purpose

Just about anyone who has been to college has heard of the dreaded “Freshman 15”, referring to college students gaining 15 pounds their freshman year of school. Well, in music, throughout the years there has been something known as the sophomore slump. That refers to when a band’s second album doesn’t sell as well as their first one does. There have been numerous bands that have fallen prey to this curse of the industry. I have always wondered if it plays with the psyche of a band when they are coming off a successful debut album and start preparing for its follow-up.

This brings us to I The Breather, who is definitely coming off of a successful debut album with These Are My Sins, released in 2010. The album saw the band’s fan base grow by leaps and bounds as it was praised by both critics and listeners alike. The band’s unique blend of chugging riffs and pulsating drums made them stand out amongst a sea of sound-alike’s. You could definitely hear their influences, but they were far from copying them.

Here we are two years later and their new album Truth and Purpose has just been released. Not only has the band not succumbed to the dreaded sophomore slump, they may have just raised the bar with this release and taken their game to a whole new level. The album opens with “False Prophet”, which begins in a calm and somber tone. Then, lead singer Shawn Spann rips open the speakers with a scream of “You’re not a prophet”. The intricate fret work ensues between Chase Kozlowski and Justin Huffman as they begin to lay down the many layers of this song. This is an excellent album opener that really gets the listeners attention.

The brutality really gets going on “The Beginning”. Again, I know this is being redundant, but the guitars are amazing on this one. The band manages to mix in some clean vocals on the chorus and have excellent harmonizing as well. The hook in the chorus on this one is especially addicting and catchy. “Bruised and Broken” is the first single from the album and a great choice at that as it definitely wetted the appetites of the listeners as soon as it was released.

“Mentalist” is another great track and it features a guest vocal performance by Micah Kinard of Oh, Sleeper. This is one of those times when they got the call right. Micah’s vocal delivery compliments Shawn’s really well and vice versa. “The Meaning” is a standout for on so many levels. Shawn’s delivery on this one is really powerful from beginning to end. The lyrics are exceptionally powerful on this track also. I love the ending of the song as Shawn screams and it goes into a haunting piano closing as the song finishes. “Lunar” is an instrumental on which the guys just let loose on a two and a half minute jam session. My only complaint about it is that it’s over way too quick.



I have to say that I was thoroughly impressed by this album. It’s solid from beginning to end and not a single track comes across as being “filler”. I could get all technical with terms describing their guitar playing and how they are part of the djent movement, but I’m not. The truth is, these guys are insanely creative and they lay down some incredible riffs from beginning to end. There are a lot of chugging riffs to be found on the album, but they skip the traditional breakdown that has become somewhat stale because of its vast repetition.

The drums are huge on this album and Morgan’s double kicks are unbelievable. Armand Jasari lays down some consistent nasty bass licks that really help to carry the songs. I’m afraid if go on any further about how amazing the guitar work on this album is that I may slip into geek mode out of admiration for Chase and Justin. Again, blistering, intricate, original and absolutely insane! Shawn also steps it up and sings with more power and conviction that I have ever heard him use before.

Overall, it’s a near perfect album in my opinion. The guys set the bar high with their debut, but not only did they surpass it this time, they totally destroyed it! I am sure this album will make many Best of 2012 lists come year’s end. Call it djent, call it progressive metal, call it melodic metal core, call it what you want. I call it a tasty new addition to a rather stale buffet of metal.

A Sound of Thunder Emerge Out Of The Darkness On New Album

I just love it when I stumble upon a new group that I haven’t heard of before and they totally blow me away. The D.C. based metal band A Sound of Thunder did just that when I listened to the opening track on their new album Out of the Darkness. One song, that’s all it took for me to know that I was listening to something special.

The band consists of Jesse Keen on bass, Chris Haren on drums, John Schwartz on guitar and Nina Osegueda on vocals. I know, I know, you’re probably saying ‘Oh great, another female fronted metal band’, but this is different and so is Nina. The band has a sound that is familiar, but at the same time is a breath of fresh air. They combine killer riffs and pounding drums with catchy hooks and a vocal delivery that is out of this world.

The album opens with “The Day I Die” and you can immediately tell that this band was influenced by Black Sabbath. The guitar riff at the beginning of the song is very Sabbathesque with its dark and brooding feel. Then, Nina’s vocals kick in and you are totally floored. The sheer power and conviction of her voice commands your attention. The song has an awesome breakdown at the 5 minute mark where it really gets that early Sabbath vibe going. The song clocks in at over eight minutes in length, but it flows so smoothly that it never seems to get boring.

“The Nightwitch” has a cool little intro that sounds like something out of a Freddie Krueger movie. Nina’s vocal delivery is soft and gentle and you think you are in for a ballad. Then, guitarist Josh Schwartz shows up and kicks the door down with a hot riff and totally changes the landscape of the song. Josh really shines on this track throughout with some solid fretwork along with a smoking hot solo thrown in for good measure.



“Kill That Bitch” is, as twisted as this may sound, a fun little song that showcases a more playful side to the band. The plot is pretty simple: you’re with a girl and another girl wants you and for that to happen you just need to ‘kill that bitch for her’. The lyrics are tongue in cheek and not meant to be taken seriously…..I think. I couldn’t help but hear shades of Lzzy Hale from Halestorm in this song.

“Out of the Darkness” features a guest appearance by Raven vocalist/bassist John Gallagher. This song definitely screams old school metal reminiscent of the mighty Iron Maiden. The song kicks ass from the killer riff to kick it off to Nina’s powerful last note to end it. “Calat Alhambra” starts off with a nice piano intro and then shifts gears and the band flat out rock on this one. Again, it’s a throwback to the sound of Iron Maiden that would even have Mr. Dickinson throwing up his horns in approval.

“This Too Shall Pass” is a beautiful ballad that shows off the softer side of the band of vocalist Nina Osegueda. Her delivery brings out the raw emotion and feelings in the lyrics. The addition of a string section is a major bonus to the song and adds a wonderful layer to this already amazing song. It also shows the depth and versatility that this band has to offer.

I think this album is solid from beginning to end. Josh Schwartz is a beast on the guitar and displays some very interesting and unique riffs throughout the album. The rhythm section of Chris Haren on drums and Jesse Keen on bass is as tight and solid as any other unit in music today. Then there’s vocalist Nina Osegueda. This woman has so many guns in her arsenal. She embodies power, passion, sensitivity and aggression that a lot of singers would kill for. If Rob Halford and Bruce Dickinson had a love child, then she would definitely be it! Do yourself a favor and check this album out before the band blows up big. You need to jump on this bandwagon because it’s going to fill up quick!

MyChildren MyBride Experience A Rebirth With New CD

High school is generally a time to party and hang out with friends. It’s a time of enjoying the carefree lifestyle of being young and living for the moment. For Matthew Hasting, it was a time of self discovery and finding his inner voice. That’s when he put together his Christian metal core band MyChildren MyBride and started looking towards the future.

The band worked hard, toured and tried to find the right mix of musicians. There were so many lineup changes that a revolving door was needed to make it easier for those coming and going. Yet, determination prevailed as the band signed with Solid State Records and started creating a buzz. Their debut album Unbreakable came out in 2008 and its follow-up Lost Boy in 2010 and the road became their new home. Their hard work ethic and dedication started winning fans and critics over alike.

Now, it’s 2012 and their highly anticipated third album is about to be released. It’s odd for a band’s third album to be self-titled, but lead singer Matthew Hasting feels as if this album is a rebirth for them and they are starting over. After listening to it in its entirety, I do believe fans will agree with him. Producer Zeuss (Hatebreed,Shadows Fall,Suicide Silence) helped the boys tap into something that they had yet to discover about themselves and the results are pretty amazing.



The album opens with “Morpheus” which sets a tone of importance for the album. It’s a short track clocking in at 1:34 and starts off somberly, but builds as the whispered intro is joined by the chugging guitar riffs and drums thirty seconds in. It leads into “On Wings of Integrity Part 2”. This song is definitely one written especially for the fans. The band continued the song lyrically from its predecessor and it is a really something special. It’s sure to go over really well live with chants of “we are the voice of this generation” which just screams audience participation.

“Anathema” kicks things into high gear with its faster, more aggressive tempo. Mathis Arnell is a beast on the drums on this track too. The song also has a cool breakdown about two minutes in where it gets totally quiet and you think the song is over, but it’s not. The next track, “God of Nothing”, is one of the band’s most creative shining moments in its young career. The musician ship is top notch and

Matt’s vocals show a great deal of diversity. The song starts with a very effective spoken intro and leads into the heaviest and most intense journey that the guys have ever taken you on in four minutes. Matt mixes his spoken word with this more common aggressive styling and it really clicks. I love how the song drops off suddenly at the end with only a piano closing it out in a haunting fashion.

“The Endless” is one of the more powerful songs lyrically on the album. Although the guys are all Christians, they don’t make that the prime focus of their lyrical content. Their songs have a positive theme to them that are universally appealing regardless of one’s religious beliefs. The song deals with death and losing those who are close to you. Always remember that no matter how bad you think you have it, there’s someone else who has it worse.

“Hell or High Water” is another song where the boys seem all jacked up on Red Bull. High energy and high intensity on this track that just flat out rocks. The album closes in a big way with the very strong track “No One Listens, No One Cares”. It’s definitely a standout track and particularly strong on the musicianship aspect. The drumming by Mathis is stellar and the dual guitar attack of Robert Bloomfield and Hunter Wells shows off some of the most insane and creative guitar work on the album. It’s an awesome choice to finish on such a strong note.

I have to say that the guys have definitely raised the bar on this album. Zeuss has awoken a sleeping beast on this one. They are more aggressive than ever and seemed more focused and determined. As mentioned before, it is like a new start for the band. The riffs are more brutal, the choruses are bigger and more epic and the guys sound hungry. A very strong album with a very positive message and worthy of praise.

Nashville Pussy Raunch And Roll On New CD

Atlanta, Georgia’s Nashville Pussy was dubbed by a U.S. magazine as “one of the hardest working bands in show business”. If you have ever seen them in concert, it would be hard to deny this label. They bring their unique mix of whiskey, Southern metal, raunch and roll to the stage unlike any other band around. Their studio albums have become instant classics, but their live show truly elevates them to another level.

The band was formed back in 1997 by vocalist/guitarist Blaine Cartwright. His wife Ruyter Suys has been by his side along the entire journey playing a blistering lead guitar. The two were joined by drummer Jeremy Thompson. The bass duties in the band have been somewhat of a revolving door having four different female bassists along their 15 year journey. Their current bassist, Karen Cuda, has been with the band 2005’s Get Some! album.



The band is releasing a deluxe version of their 2009 classic From Hell to Texas on March 27 via Steamhammer/SPV. The deluxe version features a remixed and upgraded version of the 2009 album in an unexplained new sequence. For those not familiar with the original release, it contains such staple songs as “Drunk Driving Man”, “Ain’t Your Business” and “I’m So High”. That was the last studio album to date from the band.

The deluxe version contains a second disc entitled Live and Loud in Europe. The disc contains sixteen tracks that are compiled from various shows on their 2011 European tour. The songs span their career from their 1998 debut album up through their 2009 release. The live disc really brings across the power and energy behind this band’s live show. It may be a bit raw at times and not perfect, but isn’t that what true rock and roll is about? It’s not supposed to be clean and sterile and sanitized for your protection.

The better tracks on the live disc seem to come from the show in Prague, Czech Republic. There are blistering versions of “From Hell to Texas” and “Hate and Whiskey” present from that show. Those aren’t the only highlights though. Other standout tracks include a smoking hot version of “Snake Eyes” and the crowd favorite “Go Motherfucker Go”. There’s nothing quite like a raunchy rock and roll song with a great sing-along chorus to get a little audience participation.

Now, I know that a lot of live albums are composed of songs from various shows, but it usually flows together from beginning to end making it almost impossible to tell. There are times on the album where it doesn’t flow as smoothly as others. That’s about the only fault that I have when listening to the album. I’m not sure if this is from the mixing or what, then again maybe the band intended it to be that way to give it even more of a raw edge. The omission of their 1999 Grammy nominated song “Fried Chicken and Coffee” was also a bit of a letdown for me.

The album does a great job of capturing the vibe of a live Nashville Pussy show. You can just sense the sweat dripping from lead guitarist Ruyter as she cranks out her solo; a solo that a lot of men in the business wish they could deliver in the way that she does. Blaine’s vocals do get a bit strained at times and almost sound borderline painful in his delivery, but the man’s a rock and roll trooper and keeps marching on.

The band was formed because they were tired of watching people in rock bands on stage just going through the motions, with more style over substance. As with many great and iconic bands before them, the band came together to play the type of music that they always wanted to hear. It’s raunchy, it’s dirty, it’s sexy and it’s pure, unadulterated rock and roll. They have maintained their authenticity over their fifteen year career and haven’t compromised who they are or what they believe in.
You may not ever hear any of their songs performed on American Idol, but something tells me that they really could care less.