Interview

by Drew Latshaw

Member of Under Exile

Rumeel Jim Bass
Skyy Gallegos Drums
Rylan Benally Guitars
Franklin Yazzie Vocals

The interview started with the aroma of fresh mutton lingering in the background – a glimpse into their down-to-earth reality. “We were out back, chowing down,” Franklin laughed, setting a relaxed tone that instantly put me at ease. I’d come prepared with questions, but quickly realized my perspective was limited. I was asking about “Native metal,” when they were simply making metal.

“We are not a native metal band, we are a metal band who happens to be native,” Franklin clarified. That simple statement hit me like a thunderbolt. It was a crucial distinction, highlighting their desire for their music to speak for itself.

The “Under Exile” Story: More Than Just a Name

Their band name, “Under Exile,” might suggest deep symbolism, but the truth is refreshingly straightforward. “Yeah, it doesn’t really have a meaning,” Ryland admitted. “We had a few songs and were trying for this Warped Tour battle of the bands and they needed a band name, so we just started shooting band names back and forth and ‘Under Exile’ came up and we just went with it.”

Lyrical Depth: Beyond the Surface

While they don’t incorporate traditional Navajo language, their lyrics are far from shallow. Franklin explained how songs like “Glass in the Sage” and “As Above, So Below” touch on the realities of reservation life and the impact of colonization.

“’Glass in the Sage’ is about…the realization of how poor the conditions are, but also overcoming that and not letting your circumstances prevent you from getting where you want to be or determine your ultimate fate,” Franklin shared. “’As Above, So Below’ was written from the perspective of experiencing colonization. ‘Dragged down their path of faith’ is the most direct line toward that idea in that song.”

Facing the Scene, On Their Own Terms

Under Exile’s journey hasn’t been without its challenges. They’ve faced pushback, sometimes from unexpected places. “Honestly? I feel like we almost get more pushback from Native trendsetters sometimes, more than we do from people outside of it,” Franklin revealed. They’ve experienced shelved opportunities and interviews that didn’t align with their vision.

Despite this, they remain focused on their music and their roots in Shiprock. “If anything, they are most proud to be known as a band originating from Shiprock on the Navajo Reservation,” I learned.

Looking Ahead: A Message of Resilience

With a show in Farmington, NM, on December 21st, Under Exile is ready to share their sound with a broader audience. Their resilience and dedication shine through in their music and their message.

“A big part of who we are is in our mentality to get it done and do it the best that you can. Don’t dwell on the issue or make excuses, focus on the solution,” Franklin said.

Under Exile is a band that defies expectations, and their music deserves to be heard. They’re not just a “Native band,” they’re a metal band, period. They’re a band from Shiprock, and they’re here to make their mark.

 Little Caesars Arena

March 08, 2025

BY Dedan Blackmon

The air crackled with a potent cocktail of cheap perfume and pure, unadulterated nostalgia. Forget your artisanal cocktails and curated playlists; the Millennium Tour, a sonic time capsule delivered by the Black Promoters Collective, ripped through the arena like a chrome-plated DeLorean, leaving a trail of screaming fans and spilled drinks in its wake. This wasn’t just a concert; it was a great revival meeting for the Y2K generation, a sweaty, bass-thumping exorcism of the digital age’s creeping ennui.

Nivea, a phoenix rising from the ashes of forgotten MTV jams, strutted onstage in crimson pants and a fur coat that screamed “I still got it,” her pink hair a defiant flag against the backdrop of a world that’s moved on. “Don’t Mess with My Man,” a relic from a simpler time, hit like a shot of warm whiskey, a reminder that vulnerability and raw power can coexist on the same damn track.

Then came the Ying Yang Twins, a primal force of crunk energy that felt less like a performance and more like a full-blown seismic event. “Whistle While You Twurk” and “Salt Shaker” weren’t just songs; they were directives, guttural commands that transformed the arena into a writhing mass of bodies. Kaine and D-Roc, sweat glistening under the strobe lights, proved that some anthems transcend time, their basslines still capable of rattling your bones and shaking loose your inhibitions.

RSVP, a supergroup forged in the crucible of late-night R&B slow jams, turned the heat up even further. Ray J, a man who’s lived more tabloid headlines than most, worked the crowd like a seasoned preacher, his voice dripping with the kind of smooth-talking charm that could sell ice to an Eskimo. “Sexy Can I,” a bedroom anthem for the ages, echoed through the rafters, a testament to his enduring appeal. Sammie, Bobby V, and Pleasure P followed suit, each delivering their hits with a swagger that belied the years, their voices weaving together in a tapestry of pure, unadulterated R&B bliss.

Bow Wow, celebrating his birthday amidst the chaos, delivered a masterclass in crowd control. He wasn’t just performing; he was throwing a great party. “Shorty Like Mine” ignited the arena, a reminder that even in a world of fleeting trends, some bangers remain timeless. Bringing out Detroit’s Peezy, a local hero, was a stroke of genius, a nod to the city’s unwavering loyalty.

Boosie, a raw, unfiltered force of nature, unleashed “Wipe Me Down” like a sonic hurricane. The crowd, a sea of raised hands and roaring voices, mirrored his intensity, creating a moment of pure, unbridled energy. Rick Ross, the boss himself, swaggered onto the stage, his presence as imposing as his rhymes. “I’m Not a Star,” “All I Do Is Win,” and “B.M.F.” boomed through the speakers, each track a testament to his undeniable dominance. Nino Breeze’s surprise appearance added an extra layer of street cred, a reminder that Ross’s reign is built on authenticity. Plies, with his lyrical dexterity and effortless charisma, kept the fire burning, “Shawty” and “Ran Off on Da Plug” showcasing his ability to command an audience with nothing but his words.

Then came Omarion, the headliner, the architect of this nostalgia-fueled frenzy. Dressed in a sleek black ensemble, he moved with the grace of a seasoned performer, his dance moves as sharp as ever. “Touch,” “Entourage,” and “Ice Box” echoed through the arena, each track a reminder of his enduring talent. This wasn’t just a performance; it was a coronation, a reminder that Omarion remains a king in a kingdom built on rhythm and soul.

The Millennium Tour, orchestrated by the Black Promoters Collective, was more than just a concert. It was a cultural moment, a reminder that nostalgia isn’t just a feeling; it’s a force, a powerful current that can sweep you away and transport you to a time when music felt raw, unfiltered, and undeniably real. Tresa Sanders, Daylan Cole, and the entire production team deserve a standing ovation for delivering a night that transcended mere entertainment, a night that felt like a great homecoming.

Man, what a night! Stereophonics rolled into Chicago on March 30th, and absolutely owned The Vic Theatre. If you’ve ever seen them live, you know they don’t mess around, just pure, no-nonsense rock ‘n’ roll, and on that night, it was no different.

From the moment they kicked off with “C’est La Vie,” the energy in the room was palpable. Kelly Jones’ voice? It is still as raw and soulful as ever. Honestly, the guy could sing the phone book, and I’d still get chills. The setlist was a dream mix, consisting of “Just Looking,” “Have a Nice Day,” “Maybe Tomorrow,” all the classics, plus a few newer tracks that fit right in, like “Hanging On” (which, by the way, sounds even better live).

One of the best moments was a stripped-down version of “Traffic.” You could hear a pin drop, except for the entire crowd softly singing along. It was one of those rare, magical live music moments where you just stop and soak it all in.

And then, of course, “Dakota” closed out the night, and The Vic absolutely lost it. People were still shouting the chorus as we spilled out onto the street. That’s the power of a band like Stereophonics…they have decades in the game, and they still know exactly how to hit you right in the feels.

Long story short: If you ever get the chance to see these guys in a smaller venue like this, do it.

Rating: 10/10, would yell “You make me feel like the one!” in a crowd again…and again.

Stereophonics – OFFICIAL WEBSITE
The Vic Theatre – OFFICIAL WEBSITE

If you walked into the House of Blues Chicago on March 9th, you probably left with a little extra swagger in your step, because George Thorogood & The Destroyers delivered a 100% Grade-A, blues-rock throwdown that reminded everyone why they’ve been doing this for 50 years.

From the second George strutted onto the stage with his signature black shades and bad-to-the-bone attitude, you could feel the energy in the room shift. It wasn’t just a concert…it was a celebration of rock ‘n’ roll grit, fueled by snarling guitar riffs, wailing sax solos, and Thorogood’s unmistakable growl.

At 74 years old, he still commands the stage (impressively) with unapologetic swagger. He’s not just playing songs, he’s owning them, chewing up every lyric and spitting it back with that signature growl. And the Destroyers? Tighter than ever. Jeff Simon (drums) and Billy Blough (bass) have been with him since the early days, and their chemistry is rock-solid. The addition of Jim Suhler on guitar and Buddy Leach on sax just adds even more firepower.

The House of Blues was the perfect venue, small enough to feel intimate but big enough for Thorogood’s larger-than-life presence to take over. The crowd was locked in from the first note, and George made sure no one left without feeling like they were part of something special. If you’ve ever wondered whether Thorogood still brings it live, let me save you the trouble…hell yes, he does. This wasn’t just a nostalgia trip; it was a full-throttle blues-rock barnburner that proved he’s still as bad to the bone as ever.

George Thorogood – OFFICIAL SITE
House of Blues (Chicago) – OFFICIAL SITE

Chicago was the place to be on March 8th as Disturbed, Three Days Grace, and Sevendust took over the United Center for a night of pure, adrenaline-fueled rock. This wasn’t just any show—Disturbed was celebrating 25 years of their album, The Sickness, and they made sure the hometown crowd got an unforgettable performance. Also affected were all six Chicago Bulls’ championship banners that hung proudly from the United Center’s rafters due to the heat from the band’s performance which included a vast amount of pyrotechnics. It has been reported that the damage is minor and United Center officials are currently working on repairing the banner fabric. In that, the banners have been removed for the rest of this season but they do anticipate their return for next season.

Aside from the fiery snafu mentioned above, the concert itself was definitely an evening to remember. Atlanta band, Sevendust opened up the night with their signature blend of heavy riffs and raw emotion and did not come to play. After all these years, Lajon Witherspoon’s vocals are just as powerful, and the band brought insane energy to their set. They played classics like Black and Denial while throwing in some newer tracks that proved they still have plenty of fire left. It was the perfect way to get the crowd warmed up.

Next up was the wildly popular and Canadian powerhouse, known as Three Days Grace, and as soon as they kicked into Animal I Have Become, the crowd lost it. Frontman Matt Walst delivered a rock-solid performance but it was the return of Adam Gontier that caused everyone to jump-up and pay attention. I’m not sure how many times I heard in the hallways, “I wondered how they were going to pull that off.” And, pull it off they most definitely did. Their setlist was packed with hits like Pain, Never Too Late, and I Hate Everything About You. They even threw in So Called Life from their more recent album, which got a great response. The mix of old and new kept the energy high, and by the end of their set, the crowd was primed and ready for Disturbed.

Then came the moment everyone was waiting for—Disturbed. From the moment David Draiman was wheeled out onto the stage, on a wooden dolly, similar to that of Hannibal Lecter (face mask and all), you could feel how special this show was going to be and how crazy it was going to get. This was their hometown crowd, and they definitely went all out.

To celebrate The Sickness turning 25, they played a stacked setlist, featuring the entire album, including Voices, Stupify, and Down With the Sickness (which had the whole arena screaming along). They balanced the old-school classics with some of their later hits like Inside the Fire, The Vengeful One, and of course, their emotional cover of The Sound of Silence.

One of the coolest moments of the night was Draiman taking a second to reflect on how far the band has come since The Sickness first dropped in 2000. You could tell he was genuinely moved, and the crowd responded with a deafening roar.

The production was top-notch…tons of pyro (as mentioned above), insane lighting, and level of loud that was greatly appreciated and added a whole new level to the experience. It felt like a true celebration of Disturbed’s legacy, and they made sure every fan left the arena knowing they had witnessed something special.

If you get the chance to catch this tour, DO IT. Sevendust set the tone, Three Days Grace brought the nostalgia, and Disturbed absolutely destroyed in the best way possible. The energy, the setlists, and the sheer power of their performances made this a night to remember, especially for those who have been rocking with The Sickness since day one.

As far as the Bulls’ banner damage, we shall see how that plays out so, check back for updates!

Disturbed – OFFICIAL WEBSITE

Three Days Grace – OFFICIAL WEBSITE

Sevendust – OFFICIAL WEBSITE

Oaklawn Racing & Gaming

Hot Spings, AR

By Daniel Locke

On February 16, 2025, Sara Evans graced Hot Springs, AR with her presence for a show at the Oaklawn Casino. Her “Unbroke Tour” is a delightful mix of personal stories, career insights, and anecdotes from her journey in country music. Throughout the performance, she shared the inspirations behind her hit songs, her artistic journey, and the challenges and triumphs she’s faced along the way. Additionally, she connected with the audience by discussing her philanthropic work, especially her passion for supporting causes like St. Jude Children’s Research Hospital.

Sara Lynn Evans, born on February 5, 1971, was raised on a farm near New Franklin, Missouri. As the oldest of seven children, she has always had music in her life, singing every weekend in her family’s band by the age of five. At sixteen, she began performing at a nightclub near Columbia, Missouri, which lasted for two years.

During the show, Sara frequently referenced her past singing gigs and how they’ve influenced who she is today while maintaining her family values. This was evident in how she keeps her family close—her sister was even touring with her as an audience member. She also shared stories about having a baby and touring with her child.

One of the most memorable aspects of the evening was the constant flow of fans taking selfies with her on stage. People would run up to the stage and take photos with her, and Sara made sure to be in every single one.

Sara also talked about the current state of the music industry, explaining that nowadays, artists need to already be famous before coming to Nashville and must build their own fan base on social media platforms like Facebook, Twitter, Instagram, and TikTok. In contrast, record companies used to build an artist’s fan base for them. She encouraged the audience to listen to her podcast as well.

Interestingly, this show was not listed on her website, only on her social media.

Throughout the “Unbroke Tour,” Sara Evans has been performing a variety of cover songs.

Not Over You (Gavin DeGraw)

Slow Me Down

Perfect

As If

I Keep Looking 

Behind Closed Doors (Charlie Rich cover)

It’s Too Late (Carole King cover)

No Place That Far

21 Days

Sorry Now

My Sharona (The Knack)

“I Could Not Ask for More” by Edwin McCain

Real Fine Place

Stronger

She’s Got You (Patsy Cline)

Suds in the Bucket

BTF

Website | Facebook | YouTube | Twitter | TikTok| Instagram |

Midway Music Hall 

Edmonton, Canada 

By Megan Veldhuis 

Royal Foundry, an alternative-pop band from Edmonton, kicked off the show for them on Saturday night. With Bethany away, it was Jared Salte and Robbie Szabo who took to the stage, and they delivered an electrifying start to the night. They truly brought the energy to Midway and the crowd loved it!

After sharing an emotional story of Bethany and Jared having to evacuate their home due to a fire last year, the duo played their new song “I Give Up”, which was released two weeks ago. When releasing the song, they posted “It’s not a song about quitting. It’s about surrendering to the moment, letting go of what you can’t control, and focusing on what you can—your mind, your resilience, your next step forward.” That really resonated with me. At the end of their set, Robbie surprised everyone by pulling out a cello and playing it for the last couple of songs.  

I’ve heard there’s a competition between Edmonton and Calgary to see which city can cheer and sing the loudest at concerts. Well, I may be biased, but I think Edmonton won this competition on Saturday. The moment Dear Rouge stepped on stage; the crowd was cheering. The band played all the fan favorites; “Fake Fame”, “Live Through the Night”, “I Heard I Had”, “Not Afraid to Dance”, and many more. Dear Rouge was extremely interactive with the crowd, which the crowd just ate up. During “Not Afraid to Dance”, lead singer Danielle McTaggart brought up four volunteers and danced on stage with them. She even jumped into the pit to dance near the end of the night! The special acoustic rendition of “Live Through the Night” was captivating and emotional. Danielle McTaggart had SO much energy all night, with engaging costumes, dance moves, and dynamic control over her voice. Dear Rouge put on a captivating and effervescent show, and I can’t wait until the next one! 

Website | TikTok | Facebook | YouTube | Twitter |Instagram |

Walking into Thalia Hall during the largest snowfall event in Chicago so far, I had no idea what to expect from Uncle Acid & The Deadbeats.  The name itself gave me a sense of mystery and intrigue.  And, as soon as the band hit the stage, I knew this was going to be something unique.  The stage setup was minimalist.  There were barely any lights, just a haze of smoke filling the air, and the stage was dark…with the exception of one lone candle, sitting atop of a small, wooden table, placed just in front of the mic stand.  It was clear this was part of Uncle Acid’s signature style, known for wanting very little light.  The stage was drenched in darkness, with the occasional flicker of neon colors that matched the haunting, hypnotic atmosphere they were creating…as well as that lone candle mentioned before.

The music hit hard from the get-go.  It was a mesmerizing blend of fuzzy, sludgy riffs with a distinctly retro feel, like something straight out of the ’60s or ’70s, but with a modern edge.  The sound was heavy and immersive, building an almost trance-like experience.  Uncle Acid’s voice was hauntingly smooth, the kind of tone that wraps around you in a way that makes you feel both unsettled and drawn in at the same time.  The guitar work was sharp and relentless, while the rhythm section locked into a groove that felt like it could go on forever.

Not to beat a dead horse, but the lack of bright lights or flashy visuals forced the focus entirely on the music, and it felt like a kind of ritualistic performance.  It was not your usual rock-star spectacle but instead, a performance is about connecting with the audience through sound and mood.  Speaking of mood, the crowd was just as absorbed as I was, swaying with the rhythm and losing themselves in the music.  There was a hypnotic quality to the show, like you could easily forget time and place.  Each song seemed to flow seamlessly into the next, building an emotional intensity that didn’t let up for the duration of the set.

What I appreciated most was how understated the whole thing was.  Uncle Acid wasn’t here to be flashy or a showman.  His performance was humble but captivating.  The stripped-back visuals, the sparse lighting, and the slow-burn intensity of the music combined into something that felt more like an experience than just a concert.  And, as the final notes rang out, I felt a deep sense of satisfaction.  The show wasn’t about spectacle or ego, it was about raw, unfiltered rock ‘n’ roll in its purest form.  Uncle Acid & The Deadbeats have created something entirely their own, and as someone who had never seen them before, I walked away feeling like I had witnessed something truly special.

Artist’s Official Website

Thalia Hall Official Website

Interview in Cleveland OH

by Drew

Silent Theory is an American nu metal band hailing from Moscow, Idaho. Formed in 2010 by drummer Mitch Swanger and lead vocalist Nick Osborn, the band has undergone several lineup changes over the years1. After Nick Osborn’s departure in 2013, Dakota Jerns joined as the lead vocalist in 2014, solidifying the current lineup.

The band gained recognition with their debut album, Black Tie Affair, released in 2011. Their subsequent albums, Delusions (2016), Hunt or Be Hunted (2021), and Tell Us How it Ends (2024), have further established their presence in the nu metal scene. Silent Theory’s music often tackles intense and emotional themes, resonating with fans through powerful lyrics and dynamic performances2.

With singles like “Fragile Minds” and “Shaking the Cages” achieving significant success on various charts, Silent Theory continues to push the boundaries of nu metal and captivate audiences with their unique sound

Drew: So, you are Dakota Jerns, the vocalist. Alright, cool. Alright, so. Let’s get started, yeah?

I’ve heard of you guys before and I’ve heard some music over the years. It’s like, “oh, who the hell is that?” I gotta go find them. Then I get to where I can find. It’s like I forget so and then I start and they’re like, hey, you want to cover sign there.

Dakota Jerns: Ohh nice!

Drew:You guys formed in 2010 in Moscow, Idaho when you hear Idaho that metal is the last thing I’m thinking of.

Dakota Jerns: OK, I have to ask… what is the first thing you think of when you think about Idaho?

Drew:Potatoes!

Dakota Jerns: Our biggest export, not our biggest import, which I mean it’s ridiculous.

And I don’t even think I have ever had Idaho potato. You know what I mean?

Drew:I saw that you guys, it was like founded by Mitch and Nick. Nick who left in 2013. And then after that you that came in to fill the vocalist slot. Very cool! After that transition, how long was it before you guys felt that you could green light this project and start making this band go forward?

Dakota Jerns: You know? Oh pretty immediately. I think we wrote songs the first weekend I came up. We were like, oh we like this! I think we did boogeyman, faceless and there was one other one. What was the other one that we did, Anywhere.

Anyways, that’s right. We did those 3, so we knocked those out pretty much in my audition week that I was up there. So it was a pretty immediate like, I always make the joke that I’ve never actually been like invited to be in the band that was just invited to do the audition. And I haven’t last. I just kept coming still.

Drew:(Laughing) That is awesome man! To get in, and just jive with the guys like that? Very cool! Yeah, I was looking back through my play lists because like I said, I’ve heard your songs here song there and when I was preparing for this, you are seriously peppered throughout my listening and streaming history!

In preparation for this interview, I was looking back through your catalog and I didn’t realize how far back you guys go with albums like “Black Cat Hair, Delusions, and Hunter be Hunted.” Now you are touring to promote the newest release titled “Tell Us How it Ends”.

(shuffling papers) I wrote too many things here. Sorry, man!

Dakota Jerns: You’re totally good.

Drew: When writing from CD to CD, what are you guys trying to do to keep the creativity growing and evolving?

Dakota Jern:Input, so everybody’s input is super important for keeping the creativity going. So, like the way we separated is these guys are really talented instrumentally, so they send a lot of the instrumentals to me. Then I write over the top and then we go over together and that way we just keep every song different and then we spend a lot of time individually on each song.

We’re a band that doesn’t really know when a single is going to hit, so we’ll just treat every song like it could be the next big song for us, which I think kind of adds to that consistency side of it. Like we treat every song like a single. So, we give it all that individual attention, which is just kind of also cool because we make a point to make each one different to we don’t want to repeat the same song. That’s why I’ve never done a fragile mind 2.0. Yeah, I think that’s mainly it, we separate those two parts and then bring them together at the end.

Drew:That is very cool, and to hear that you guys allow each other the freedom to create and then everyone has a say on the final product! Wow. Yeah, I am really in awe at this!

How is the metal scene in your hometown? Are there a lot of metal shows? Is there a metal scene there?

Dakota Jerns: Not at all. It’s dead. I don’t even think that our state knows we exist to be fairly honest. Yeah.

Last time we played in Boise was, what was it, 2020? 180 was that 2021 that. We did it, yeah.

With Gojira and that was like a fill-in replacement like last minute, is there a band from our area that could hop into this show like it’s so weird and I and I’ve known the radio people there for a while too. Yeah, there’s not a scene at all. Like, I can’t. I can’t name maybe 3 bands, even from Boise because I live in Boise. So, I’m in the capital. Yeah, I can’t name you even three rock and or metal bands that are killing it, right? Now I can’t think of anybody.

Drew: Not to sound rude, not in the slightest! You guys are easily categorized as metal, that is all fine and good! However, you are not in any way too hard for radio, you are not slash, speed, thrash, or black metal! How is it that you are not getting more radio play? That is really surprising to me!

George Swanger:

No. We are not. It’s just, see where we’re at is a small town.

Drew:This tour leg you are on, you have a total 10x stops to promote the new album, are there any cities you’re looking forward to or returning to?

Dakota Jerns: Oh yeah, for sure! New York is always fun just because my first time in New York was when we shot our last music video for the first song off of this album, and that was so much fun. Going back is going to be a blast. I haven’t been to Massachusetts, ever! Being able to go to Lowell, going to be cool because I know a little bit of history about Lowell. Yeah, like. It’s cool to hit the East Coast because we’re predominantly of West Coast fans and we do the Pacific Northwest a lot and those travel dates can be 5-6 hour drives from just one city. That’s to a secondary market city here. It’s like you go 2-3 hours, you’re in another state and that’s really helpful. East Coast is great.

Drew: I can say that we here in the East are happy to have you and anxious to see you play! I’m very limited on travel personally, but I can’t fathom how you guys live on tour. I can’t. I’ve spent three days with my friends in Cultus Black and Dead Animal Assembly Plant and they were on with Combichrist and the third day I shot a different show in another city. After those three days, I was dead man. Yeah. How you guys do this, I have no clue!

OK, moving on, man! Do you guys have any pre or post show rituals or practices to help you guys amp up or wind down?

Dakota Jerns:

After the shows? Food! Mexican food most of the time, if there anything that’s open after 24 hours is typically what we’ll do after the show. So I don’t know if we have any like pre show rituals per say. We don’t really have anything like that before a show. I’ve always wanted to do something, but not sure what.

For some reason with us, it’s Buffalo Wild Wings. I don’t know why we just happen to any city we go to Buffalo Wild Wings! Yeah, it’s not really a ritual, it just seems to always happen!

Drew:When I do go out of town, It’s just a thing I have to do, I have to have it hit a Chipotle everywhere I go.

Dakota Jerns: Now see, it’s a very similar thing. Yeah. It’s not so much a ritual habit of a habit. You know, life is like you can get anything, literally anything else. It’s even in your home city. Like, yeah, I have four of them in our area.

Drew:The lineup I saw on Wikipedia and there’s three Swanders (pronounced like Saunders) in the band, and I have siblings myself, and so how do you guys keep from any sibling rivalry being an issue? Sibling angst is kind of a part of nature in my experience.

Dakota Jerns: each other all the time. It’s not even like a situation where they’re just constantly in each other’s ear. I think that also helps. I mean, I can’t speak for them necessarily. I know George is here. So he could say probably to that. But yeah, I’m not sure how we keep it together.:I don’t know. Maybe I’m speaking out of turn and speaking for them, but being Irish twins being as close as. You guys are in age. I think that probably helps. I don’t know it cause you could say that a lot of the bands that have brothers in them are probably not a great example of like 30 bands. Ours seems to be fairly sturdy like we’ll have a fight that doesn’t last very long and usually I can’t think of the last time we had like a big fight and it’s usually about industry stuff. It’s never too like directed towards anyone individually. I don’t know. Also we separate this from like our daily life. So, like when we go home, we’re not always around

George Swanger: Of the three. I get left out of the loop and that’s just like how life has been in general, but it helps it like the biggest brother is also the most calm. And so if he was the is the biggest asshole, that would totally change the dynamic. It need to be a little different, but he’s the most calm and then. Than the oldest is more business sense and so he cares way more about that than I think the rest of us. And I’m the youngest and I’m the asshole, kind of.

Dakota Jerns: Everybody else in shock about Scott, the middle child. He’s very reserved. He’s easy going and yeah, the personalities fit really well. That’s very cool.

Drew: it’s more of a puzzle piece as opposed to grinding gears, that has to be helpful!

George Swanger

Yeah, that sounds good.

Drew: That’s awesome.

In your opinion… Why is the word abbreviation so long?

Dakota Jerns: Why is the word abbreviation so long?

Drew L. Yeah.

Dakota Jerns: This sounds like a joke… are you being serious? Is this part of the interview?

Drew: Just I throw in random stupid questions just to kind blindside people. I love the trip people up and see the reactions. When I interviewed Doyle, I looked at him and I said, “Do you think eyebrows are facial hair.”

Doyle looked at me, and straight faced says: “I don’t have any!”

Yeah, absolutely. Yeah, I love it. I just ask random stupid questions just to kind of trip people up, you know? It’s meant to be fun and catch people off guard. I promise, it is meant to be fun, no disrespect in the slightest.

Dakota Jerns: I get it. No, I don’t know why abbreviation is so long. (he said with a smile)

Drew: Did you guys have any other projects in the fire, on the on the back burner as they say?

Dakota Jerns: Yeah, we do. We have a couple of things coming up. We have some remixes of a couple of songs that we’re doing with some people off the new album, we have a thing we’re doing with beer union where it’s together. Both of us are doing a song together. We’ll release that one pretty soon here too. And then I think the goal is moving on from this next year to just continuously pump music anytime soon. Very cool. Like the album didn’t mean to necessarily mean an endpoint to an era. I just meant like drop the album and now we’re gonna keep pumping out new music. Yeah, the same thing in a month or two, we’ll have new music..

I don’t think we plan on the train stopping

Drew: Well, it’s like Davinci allegedly said: A masterpiece is never finished, only abandoned!

Dakota Jerns: Yeah.

Drew: Are there any other bands out there that you feel that are up and coming that?

Dakota Jerns: You guys listen to. Oh, yeah, totally. Like, recently. I’ve been listening to Thrown. I think Thrown killing it. They’re.

Personally, in my opinion, if I was doing a different project, I think that would be similar to what they are doing. Something like. You’ve got some of the bands that are popping up that I would say when I came out of high school, were just starting and now they’re like as big as they are. So, like, Bad Omens was just starting when I was just getting out of high school. Now they’re like, as big as they are. There’s a lot of them! I know The Funeral Portrait dropped an album the same time we did. They’re kind of on the same.

Drew: I know portrait. I’m actually photographing the next Friday.

Due to Funeral Portrait being in my Spotify favorites, that is where I was able to rediscover you guys! You were in the suggested listing. I was so happy, I finally had a name to the band that has so many songs I have heard over the last few years, and never really found!

Give me a moment to get this right… there’s no way of saying this without sounding rude or something, and it’s not meant to be. I love interviewing smaller bands, up and coming bands, catching local shows of bands because you don’t have the ego, and that mentality that you are above the fans. Yeah, most of the people I’ve met are really cool, but I love getting to know like people are on the way up because, you know, you get more down to Earth, you get to kind of see them on their way up, I mean this is a lot more intimate than you, you know, and it’s just more fun in my opinion!

Dakota Jerns: Here’s a question for you. Do you find the bands that have been around longer? That took a lot longer to get to that successful to be a little less egotistical than the ones that maybe have like that overnight success of like maybe two years and then they just knock it out and they’re already at the top, whereas like a band that struggled like 13 years to finally get to that arena level. I think those guys are a little less egotistical than the ones that just had it handed.

Drew: Wow… how can I answer this? In my experience, it is a case-by-case sort of thing. Surely circumstances are different for sure. There have been a couple of people that act like I’ve been owned this! I am a believer that you earn what you have, and what you get. While not every amazing band gets discovered, some of the best often are overlooked, sadly.

I do not care about how long I have listened to someone, I do not care about how bog or small your band is, if you have a nasty attitude towards people, and especially fans, I will listen to someone else, I will not photograph that person/band. Life is short, do what you love, and it is free to be a decent person.

I’m nobody of any importance in my opinion, and so I try not to have an ego! Look at this, you guys giving me time out of your day is a huge privilege and honor to me and if there is anything I can do to help you get more exposure to other bands.

Drew: So when you guys’ tour with other bands and stuff like right, you have three other acts on this on this show. What’s the kind of the criteria for other bands for you guys to come out with?

Dakota Jerns: Oh, we don’t really have one whatsoever. Like, for instance, Discrepancies, we’ve been tracking them for a while. We’ve been wanting to put something together, so we’ll reach out and we’ll be like, hey, are you available this time? So like, when we have a chance to put something like a.

Headlining run for ourselves, together we try to find bands that fit kind of what we.

Like I think Mitchell said it best the other night. He’s like, this is a great band to, like, hype you up for us? Like they’re so good at, like, getting you ready? Yeah. And like, that was perfect. And that’s how we kind of wanna be as an opener for a band as well. Like if we’re goanna open on a bigger tour, sure we’d wanna be the band. That’s like typing you up to get ready for that one. And so they’re killing it. We were so happy to be with them. And so I think if there’s a criteria in any way it would be the. We need a band that has that energy!

Drew: So when you guys are writing new music, what does your creative process look like? Is it more methodical or is it kind of just free range?

Dakota Jerns: Everybody has their own thing that comes together, like you said earlier. This last album iteration was a little different than what we did for delusions, our first album with me. We jammed music out and then we wrote it. And then I wrote the lyrics to. We went in the studio with it probably already pretty prod of it.

This time we went in kind of as a blank slate, and we wrote from the ground up and kind of built it around. And I kind of went more with my gut feeling on this go around. So when it came to the music, I kind of went with my first initial thought on what that should sound like. So in my head, when it came through, that was my first thought. And then I had. I have, like a booklet of lyrics that I’ve already built and sometimes.

Some things work, some things I make a really good thing on the fly. So it is a puzzle piece thing. But I also love to take the input of the other guys too. So if I’ve got a line that I’m Like “is this is good work?” People will be like, no, that’s shit. Stupid change that. So I love that too. So having all of the input is really helpful in the songwriting process for me.

Drew: While writing and prepping the new album, was there anything that you threw back in the vault to use for another release later?

Dakota Jerns: Yeah, sometimes like, it really has to not make the cut to even get to the point where it get. I wouldn’t even say it gets to me. But like when it gets to the point of like we’re goanna start working on this song, you know, it’s going to be like, good.

For instance, I’m not always around when Scott, Mitchell, George and Bob are putting together everything, they might be sitting on the computer and like, this sounds fucking stupid. They’ll change the rift and make it different. Then they’ll send it to me. And they’re like, so it goes through filters before I think I think get it. I’m not sure about that necessarily, but I think it does go through a filter process for sure for things that aren’t going to make.

Drew:Did you ever wonder if vegetarians are allowed to eat animal crackers?

Dakota Jerns: No, no, never, never. And I don’t ever think about vegetarians personally. Like, they’re not something that’s on my mind.

Drew:When you guys are on the road, is there any must must have snacks in the van?

Dakota Jerns: No we don’t have any snacks on the bus right now I’m so angry. I’m so hungry. Yeah. Red Bull is probably like the kidney stone creator, but Red Bull, is probably the most important thing for us is coffee.

These guys drink more coffee than they drink water and that’s insane. I would say the same thing. I’m like, if you ever want to run into a musician, just hit up like a come and go or something like that on the Interstate at like 3:00 in the morning. You’re gonna run into somebody probably famous at that point because that’s all we get. Like, by the time we’re done and loaded in, it’s like midnight. 1:00. If you’re in the gas station. So, like, the must have snacks. Probably gonna be like, you know, chips and cookies, which you can get right.

Drew: The video “Made Me This Way” the AI and that was phenomenal. I really loved that.

Dakota Jerns: Yeah! The Door Brothers killed it on that!

Drew: That was really fun to watch. I’ve watched it like 3 or 4 times right back-to-back!

Dakota Jerns: Since high school I was all about the multiplayer Call of Duty, doing everything like that. Going to destiny. Destiny from Destiny 2. I started with Dark Souls and so when I heard people say that this kind of reminded them like the beat, I kind of got that because I hadn’t played it up to that point. But I was thinking like If I had like a kind of industrial-ish, metal-ish, heavy Mushroomhead song, wouldn’t it be cool to have kind of like a steam punky type idea? So I came up with the idea of like a it was a junkyard. Geppetto was initially the initial thought for the whole thing, and then it molded from them like I told them that. And they took it and threw it into their software and built that. Over the course of like 2 weeks and so I think that’s what AI brought to that is, I’m not gonna like push AI as an advocation or anything like that. Push for bands like us in our size at the budgets that we have to make music videos to make something like that for what we paid for. It is insanely advantageous for bands of our size, yeah. We’re not going to have $30,000 to drop on a music video. I wish we did, but we don’t and we have a much smaller budget to drop on something like this. Yeah, that’s what you get. You something cool like that? I think AI will be awesome for that. I don’t think I should be used for every creative expense. For sure that was quite helpful!

Drew: I was getting speaking out about that. My wife and I both went to school for art. She has her BFA in Fine Arts and painting and an illustration minor. People started coming out using AI. She was hardcore against it. Now, the more she sees it, it’s actually giving me a lot of inspiration for photo ideas and stuff.

Dakota Jerns: That video that’s really nice. That’s awesome. I’m a painter too. So like I’ve still got some unused credits from college for painting and art and illustration specifically. Give the color blends. I only did black and white charcoal and people kind of said the same thing. They’re like, well, hey, how can you support AI and steals from artists thinking. I’ll support that when people start paying for my music again, because I can’t think of anybody advocating for the musician getting paid royalties or anything out, right? Yeah. I mean, look at what spot or what Spotify has taken from what basically Napster had created this big hole of, like, well, we’ll pirate music. No, no. We’ll give bands .06 sense of their song. Then we’ll give you credit for it. And that’s more than what, what I guess these brick and mortar artists.

Drew: Is there a platform that’s actually fairer to you guys as far as being more beneficial to artists?

Dakota Jerns: YouTube, I think pays out the highest if I’m not correct, is it YouTube, George?

George Swanger: I’m the wrong guy.

Dakota Jerns: YouTube Music, like if you if you throw on the YouTube Music, it seems to directly correlate with the channel as well.

Drew: Very cool! I’m trying to do what I can to support the bands in the ways I can!

Dakota Jerns: Basically, paying for like going to the show and paying out right is the best thing you can do for a band. But if you had to, you’d be.

Drew: What I like to do is when I go to shows, I never do selfies with bands. What I do is I buy a CD and have the band sign it because I don’t like pics of me! Just I feel like it’s too invasive to people.

Dakota Jerns: In the same way dude. It’s always weird that people want to take a photo with me, and they post it and I’m like… I’ve met a lot of people! Also, I always feel like I have a goofy smile or something weird about it, you know?

Take George! He loves it!

George Swanger

Nobody loves me more than a me and a mirror!

Drew: Looks like it’s going to get a good crowd.

Dakota Jerns

Yeah, this show had the highest presale so far.

Dakota Jerns

North Carolina is close to selling out, right? Yeah. This is our first time to the East Coast and we kind of did it as a trial run of, like, we’ll push this far and see what the turn out will be because we never know, you know, we don’t like headlining. I will say probably no band, probably likes them. Unless you’re, like, an arena Rock legacy act. I don’t think you like the headline. I always prefer to end earlier so that our fans can have that, you know, value of also going home at a good time. So last night last night our show got done. I want to say by 10:30p, or 10:40p, awesome! It was amazing cause we got on at like 9:45p or something like that. It was great and to have everybody stay and I’ve seen people filter out like if you go on at like 10:50 or 10:45 people are filtering out by midnight because they it was a Wednesday. You know what I mean? So it’s like I always advocated for people having a great time, but still getting home at a reasonable time too.

George Swanger

Yep.

Dakota Jerns

Start the show earlier and the show earlier. Get people home. Then you can have your Thursday shows, right? It sucks that you have to rely on Friday, Saturday, Sunday to be your markup!

Yeah. Imagine especially, I can imagine that. I mean I wasn’t sure what I was going to see up here as far as the crowd and maybe on Thursday. So yeah, but then we were like Lakewood was pretty big from what we had heard from the market. From what we had seen, this is basically Cleveland, right? Can I say that? Is it OK to say it’s Cleveland?

Drew: Yeah. You go that way about three blocks from where we are sitting, and it is literally

Dakota Jerns: Cleveland tonight, and no one’s gonna be like you’re an idiot, but yeah, I I thought the same thing. I was like no one will show up. And if they don’t, I never really care. Yeah, you know, it’s always fun to just play the three people too. We played in the bowling alley that had, like, maybe 13 people and people were like, bowling in the lane next to me, and I was like, “it’s fucking shoulder to shoulder in here!” That’s fun to me!

That’s never nerve wracking, having 300 people in front of me can sometimes be nerve wracking. Really! Never know if they’re there because of us, especially if you’ve got 5 or 6 bands on the bill, even if they are there for you. They might be trying you out with 300 people that you’re never sure, but if there’s only like 5 people there by like 11:00 and it’s you, they’re, you know they’re there for you 100%. You can do whatever! I’ll go down and dance with the mom or whoever!

Drew L.

Well, guys I appreciate this, so much! Doors are at 7 or something and so, I will leave you to your evening, and I will see you on stage! Thank you for coming to Cleveland, and many thanks for the interview!

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Review from one of their shows

Following a blistering triad of EP releases spanning nearly a decade, the idiom ‘leave them wanting more’ comes to mind, but Scour is about to satisfy that craving.

The extreme metal assemblage featuring Philip H. Anselmo (Pantera, Down), Derek Engemann (Philip H. Anselmo & The Illegals), John Jarvis (Nest, Agoraphobic Nosebleed), Mark Kloeppel (Misery Index), and Adam Jarvis (Pig Destroyer, Misery Index, Lock Up) is merging metal and the macabre like never before.

Ready to come ripping into the atmosphere on February 21 via Housecore Records (and Nuclear Blast in Europe) Scour’s first full-length, Gold, solidifies the nightmares lying in wait with speed, aggression, and a diabolical vigor.

Guitarist Mark Kloeppel explains the influence of literature’s horror genre on the making of this album: “Philip has always been a scholar of horror literature and strange fiction. While the tough persona may not lend itself to images of a person reading and studying books for hours on end, nonetheless, that is the reality.”

Gold’s predecessors, the 2016 EP The Grey, 2017’s The Red EP, and 2020’s The Black EP laid the groundwork for this highly anticipated forthcoming release.

“In releases past,” Kloeppel continues, “the lyrical approach was more of a tapestry of abstract phrases linked together to invoke the kind of existential tormented feelings one gets from horror fiction. While that approach is still present on Gold, it has evolved to include vivid depictions of scenes and scenarios. Similar to horror and strange fiction, those painted scapes are used to extrapolate emotion as opposed to just the direct communication of the phrases themselves.”

On Gold, Scour’s aural fusion of black metal, grindcore, punk, and thrash influences help weave an experience of terror that surpasses that of a book or movie.

“I wouldn’t necessarily call the songs stories, but some songs like ‘Invoke’ and ‘Infusorium’ do have distinctive plot-like succession of scenes,” added Kloeppel.

An official video for the forthcoming album’s first single, “Infusorium,” was released this past November, and has now been followed by a video for Scour’s latest single, “Blades” – both of which are effortlessly incinerating the eyes, ears, and minds of extreme music lovers.

As the release date of Gold creeps closer, Scour bassist John Jarvis explained what exactly was unique about the creation this album: “On Gold, I believe we pushed each other to be the best we could, faster and heavier than before.”

“It’s hard to compare to my other projects because it’s so different,” Jarvis continued, “but I learned a lot during the tracking of Phil’s vocals. At one point he was layering some vocals I asked him where he learned that, and he said ‘Ozzy.’ Good enough for me!”

Jarvis then noted: “I’d say it’s the most intense album I’ve been a part of!”

Of the thirteen tracks on Gold, Jarvis commented that “Invoke” is his favorite: “[A]lways a reaction from anyone I’ve played it for. A song that forces you to head-bang with a catchy sing- along!”

And regarding which song Kloeppel is most looking forward to playing live he explained: “We have played ‘Infusorium’ once live already and I loved performing that and its solo in front of people. It’s got a good combination of varying parts. With the amount of sheer speed we do, that one gives a good head- banging change of pace.”

Fortunately, the release of Gold is just the beginning of this deliciously dreadful journey. Despite a steady touring schedule for Anselmo with Pantera, Scour will perform at this year’s Milwaukee Metal Fest in May sharing the stage with the likes of Black Label Society, Gwar, Down, Arch Enemy, and many others, as well as promising more for this era of Scour to come soon. Click here for information and tickets for Milwaukee Metal Fest.

Gold, which features a guest solo by Gary Holt of Slayer and Exodus, will be available on CD, LP, limited edition cassette (in the U.S.), and digital formats, and is guaranteed to melt your face off. Click here for pre-orders.