Here is Keefy’s final Top Ten from his overall Top 40 Metal Albums of 2012 list! Enjoy!
#10. CRYPTOPSY- Cryptopsy (Self Released)
To paraphrase comedian Chris Rock, I’m tired of apologizing for CRYPTOPSY. I was in the minority among people when I loved The Unspoken King. I’m sure as people are reading this; they are scratching their heads again. No matter, CRYPTOPSY has silenced all their critics with an album that matches the best work of their career. A brutal slab of technical death metal on every level the album is great for all the reasons that made the band stellar in the first place. Obviously, people talk about the inhuman level of Drummer FLO MOUNIER. However, the real strength of the band is returning guitarist and writer JON LEVASSEUR and mainstay guitarist/uber producer CHRISITAN DONALDSON. The songs they wrote are superb. I was nervous about Oliver Pinard being able to replace ERIC LANGLOIS on bass, but even he was great too! Lastly, MATT MCGATCHY‘s performance provides the shut the fuck up moment of the year to all the haters. Well done sirs!
#9. PRONG- Carved Into Stone (Long Branch Records/SPV)
I thought my birthday came early this year when PRONG’s new album came out. PRONG has always been one of my favorite bands and all of their recorded output has been always been strong. Carved Into Stone is actually the bands best album since 1996′s Rude Awakening. Not only is the album full of sick tunes, but over the top, guitar playing in general is terrific. TOMMY VICTOR (DANZIG, MINISTRY) has been known for two things in his career: great songs and being a riff master general. The album displays an unexpected depth for any record in 2012. Packed with just the right touch of technical mastery and catchy songwriting to please and the hardcore soul, which hearkens back to Tommy’s NYC metal roots. The performances from TONY CAMPOS (SOULFLY/ MINISTRY/STATIC-X/ASESINO/POSSESSED/OTEP) and ALEXI RODRIGUEZ (ex-3 INCHES OF BLOOD) are matched perfectly too, making this one of the baddest power trio’s around.
#8. GOJIRA – L’Enfant Sauvage (Roadrunner)
GOJIRA albums, when they come out, are an event. The metal world waits with baited breath and the results are always stellar. Armed with a new deal from Roadrunner, the band put out L’Enfant Sauvage over the summer to roars of approval. Perhaps, even I was too cynical to believe that GOJIRA would continue to get increasingly popular as they stayed true to who they were? L’Enfant Sauvage is a great blend of theProgressive Rock/Metal, Tech Death, old-school Death Metal and Thrash influences they are known for. Then there is their subject matter: they are one of the most thoughtful and socially conscious bands around, lyrically. The album hits the right mood on every level, every time and has the musical confidence of a band much more senior in years. Songs like “Explosia”, “The Axe” and “Liquid Fire” are going to be talked about in metal head circles for years to come.
#7. CANNIBAL CORPSE- Torture (Metal Blade)
Like a beautifully marbled steak or a legendary work of art, CANNIBAL CORPSE truly does get better with age. It seems likely that much like SLAYER, the death metal godfathers will keep right on trucking on to oblivion, making skull splitting, gore filled albums for as long as they can. Torture is perfect in every way and all of the things you love about the band are in the mix. Perhaps due to being the most collaborative written album in the bands history, the sound from song to song is quite eclectic. Not like Dubstep, power-ballad eclectic, mind you, but the band has figured out how to blend different song styles seamlessly. Inventive new chord structures and riffs, hard to fathom bass lines and stupendous drumming are all topped off by GEORGE “CORPSEGRINDER” FISHER‘s impeccable voice from hell. Plus, don’t forget the grooves. Oh those crushing grooves! Nobody writes a grooving-ass, brutal riff better than ALEX WEBSTER. The band continues to be the yard stick by which all death metal music and consequently, all death metal bands are measured.
#6. C.O.C. – C.O.C. (Candlelight)
That C.O.C. was able to make a comeback as a trio at this point in their career is not a surprise. The fact that they reunited to make an amazing album is not even a question. What I am surprised by, is that it seems like the rest of the world has caught up to the sound of the band and the love from fans and the press is over flowing. When last we saw C.O.C. as a trio it was the 80s and they were mostly an underground phenomenon. Lots of bands like to say they were influenced by the Sludgy, Crossover Doom masters, but in this age of the Internet; flattery goes a long way to help a new bands rep.To hear WOODY WEATHERMAN tell it, the reunion circuit was totally un-interesting to the band, unless they were gonna make new music. C.O.C., the album has more quality and vitality than many of the upstarts of the genre they helped put on the map. MIKE DEAN‘s bass is full of fuzz and style; Woody‘s soloing is on fire and REED MULLEN, back for the first time in over decade, drums and sings like a man possessed. Let us not forget the poignant political lyrics, much welcomed in these troublesome times of a divided America. You might say the metal world needed C.O.C. to come back, as much as they needed to make a comeback themselves.
#5. MESHUGGAH- Koloss (Nuclear Blast)
What can you say about MESHUGGAH that hasn’t been said already? It’s not hard to run out of superlatives when talking about the most influential metal band of the last fifteen years. Whether Koloss was going to be great or not was likely not debatable. What was up for grabs, was what direction these geniuses would take the iconic music we have all come to expect. The results were stunning. Can you change things up, and still be the same band? By definition no, but that is MESHUGGAH for you. Koloss is a collection of songs much like the rest of the bands’ storied catalog: brutal, and complex. Most of the songs feature a pulsing groove that has come to the fore in the bands work of late. Every beat and riff is a maelstrom of twisting delight, overlapping time signatures and finger-defying licks galore. Most of all, the album sets another technical high water-mark for guitarist FREDRICK THORDENDAL and drummer TOMAS HAAKE.
#4. TESTAMENT- Dark Roots Of Earth (Nuclear Blast)
The return of TESTAMENT to their former level of greatness is nothing short of a triumph for all of metal. 2008′s Formation of Damnation was an excellent comeback album, after almost a decade of no new music. In the interim years since getting back together, they have toured tirelessly around the world, reignited their chemistry and fulfilled the promise of their early career. Dark Roots of Earth takes the concept of the old-school Thrash style, added a modern sensibility and took it all one step further. Only EXODUS and ANTHRAX have been able to pull of the feat of making new music for modern ears, staying true to their past and begin able to add a level of panache. ERIC PETERSON finally got his dream come true by getting GENE HOGLAN to write and record drums for a TESTAMENT album. The unrelenting bottom end of the songs gives the band a new power they have never had. Every song is a gem. “Native Blood” is one of the catchiest, yet grooviest songs I’ve heard in ages. The chorus is also the best of 2012. CHUCK BILLY‘s ageless voice carries the day and ALEX SKOLNICK displays the chops that verify his legions of fans. Even GREG CHRISTIAN is heard from, with some excellent bass lines. Dark Roots of Earth is all killer and positively no filler.
#3. BARONESS- Yellow And Green (Relapse)
One of the most anticipated albums of 2012 did not disappoint when BARONESS dropped the latest in their color-themed recent discography. The band made no pretense that this album would be not be metal and frankly, that was OK by me. If you have been following the band, they have been less concerned with the trappings of fitting in, in their career up to this point. They instead stayed true to their artistic authenticity. What BARONESS delivered is a double-album of incredible songs, displaying great chops and the best dynamics overall of any album on this list. Some of the songs are quite heavy, but more often than not, that heaviness never came the expense of melodies or tones. “Take My Bones Away” was my out and out favorite song of the entire year. “March To The Sea” was another stone cold rocker, the likes that haven’t been heard since the heyday of QUEEN or THIN LIZZY. Some of the best moments are the most unexpected ones; like the freak-out synth work in “Cocanium”. All of the keyboard work is stellar as is the bass playing, which band leader John Baizley played all of too. “Back Where I Belong”, “Eula” and “Board Up The House” will also rank at the top of the bands’ song book for years to come. The “Green” side of the double set is equally tuneful and more mellow, but no less mint song-craft wise. Finally, tying it all together is the brilliant cover artwork, the years’ best; also by Baizley once again.
#2. DYING FETUS- Reign Supreme (Relapse)
DYING FETUS is such a great band in its current incarnation that one almost forgets there were entire years in their history marked by upheavals and departures. The present day lineup has been intact since 2007 and the comfort level they have together creating the most brutal Death Metal possibly known to man is sky high. Through it all, JOHN GALLAGHER has been the one constant: constantly growing as a guitarist and writer and constantly writing pissed the fuck off, baffling and sick lyrics. Reign Supreme might be remembered years from now as one of the top three releases of the bands’ career with its non-stop violence inspired songs. GALLAGHER and his p-i-c SEAN BEASLEY crush it out of the park on the guttural vocals. Beasley, who was always an underrated bassist for the genre, plays some of the best passages ever recorded for the instrument in the context of technical death metal. TREY WILLIAMS also one-ups his performance from Descend Into Depravity, being a might less technical, but still precise as fuck and bludgeoning as all hell. His blasts are far and away my favorite of any drummer on album this entire year. The album is a masterpiece of death metal brilliance, and that is really saying something considering how deep the sub-genre is these days.
#1. IHSAHN- Eremita (Candlelight)
In what was a high quality year at the top of the heap of metal music, IHSAHN‘s fourth solo outing is my choice for the album of the year. It’s not the sexy choice compared with typical years past, but it is the best choice, by far. Eremita is a sprawling, ambitious album full of musical twists and turns, yet perfectly coalescing into a sensible piece of art. In an interview I conducted with him for Metal Army he talked about the creative process as a continual evolution, a death followed by a rebirth. That would just begin to cover the emotional and lyrical depth in the music. In many ways, this is the album that IHSAHN, famously known as the legendary front man of EMPEROR, has been building up to for his entire career. His mastery as a composer, guitarist, vocalist and lyricist is without equal at this point in his career. Musically the songs cover the gamut of emotions and styles and reveal a complexity that mirrors the artist himself. Songs like “Arrival”, “The Paranoid”, “Something Out There”, “The Eagle And The Snake” and “Departure” are among the best of the year. Topping off the package are the guest performances by the likes of DEVIN TOWNSEND, JEFF LOOMIS, EINAR SOLBERG (LEPROUS), JEFF MUNKENBY on sax and IHSAHN’s wife HEIDI S. TVEITEN‘s enchanting vocal turns, which sends the quality of the album into the stratosphere.
SickDrummer.com, Perseverance Holdings and our friends at Relapse Records are among the sponsors of the DEATH TO ALL TOUR which kicks off tonight in that most metal of cities San Francisco, CA. The tour celebrates the life and music of CHUCK SCHULDINER of DEATH. With DEATH and later CONTROL DENIED Chuck blazed an innovative trail in music and has been followed by nearly every death metal that followed in his shadow. This is not an exaggeration, but widely acknowledged and not just by his peers and loved ones, but by many bands both from yesterday and the present. Performing music from a career spanning set list with be an all-star group of Chuck’s former band mates and giants of death metal like GENE HOGLAN (Individual Thought Patterns/Symbolic), SEAN REINERT (Human), STEVE DIGIORGIO (Human/Individual Thought Patterns), Scott Clendenin (The Sound of Perseverance), PAUL MASVIDAL (Human), Shannon Hamm (The Sound of Perseverance), and Bobby Koelble (Symbolic). Handling vocal duties will be by Steffen Kummerer of OBSCURA and Charles Elliott of ABYSMAL DAWN/BEREFT who are both greatly influenced by Chuck. Some of the guest artists who will join certain shows are RICHARD CHRISTY of CHARRED WALLS OF THE DAMNED (ex-DEATH), Alex Skolnick and Chuck Billy of TESTAMENT, Paul Ryan of ORIGIN, Craig Locicero of FORBIDDEN, Travis Ryan of CATTLE DECAPITATION,Trevor Strnad and Ryan Knight of THE BLACK DAHLIA MURDER and Emil Werstler of DAATH/CHIMAIRA. GORGUTS will open most of the shows.
Not only will this be a celebration of Chuck’s life, but will help make a lasting impression for the future at every show. Each night is a benefit show to raise awareness for the Sweet Relief Musicians Fund which provides support to career musicians in need of support while facing illness, disability or age related issues. This cause hits especially close to home for Chuck’s family and friends and one he’d gladly support. Please come out to this rare opportunity to pay tribute to a legend, see an amazing collection of talent and hear some songs that haven’t been performed anywhere since DEATH was active as a band. Please come out to support this tour and support live music, especially underground bands.
DEATH TO ALL 2012 TOUR DATES:
6/22/2012 – The Regency Ballroom – San Francisco, CA
6/23/2012 – House of Blues – Los Angeles, CA
6/26/2012 – House of Blues – Chicago, IL
6/28/2012 – Irving Plaza – NYC, NY
6/30/2012 – The Beacham – Orlando, FL
*Postponed until 2013* 7/01/2012 – The Masquerade – Atlanta, GA
*Postponed until 2013* 7/03/2012 – House of Blues – Dallas, TX
FEAR FACTORY have managed to remain one of the most original and endearing bands for better than twenty years and it hasn’t been through luck. The bands’ temerity to survive in the face of many up and downs within the band and with in the music industry as a whole has been remarkable. The main appeal of the band, besides the music, has been the ability to tell stories full of drama and context. In a world softened by the convenience of incredible technology, somehow never respecting the inherent danger that comes with it, the band has been a commentator on humankind’s potential folly. Continuing the man versus machine theme they have explored on every release, The Industrialist is the most fully developed story the band has ever produced and it is a great platform for the compelling music that comes with it.
Starting off with the title track, there is a noticeable difference sonically between 2010′s Mechanize album and this new release. Mechanize was thrashy and had solid songs, but was missing something for me in the mortar that held it together. This album sounds like the classic FEAR FACTORY sound albums from the 1990s. That is pretty weird to even type that since I am a huge fan of Raymond Herrera, who is still not part of the the current incarnation of the band. I have felt like his absence was hard to overcome in general. Perhaps in an attempt at getting back to the pure essence of the music, DINO CAZARES and his collaborator John Sankey (DEVOLVED) programmed all of the drums, bringing in some of the original essence of the style. GENE HOGLAN fans, please don’t send me hate mail, I love “The Atomic” clock as much as anyone. I just felt he wasn’t the right fit for the band. It’s more about power over precision, but it does make a difference in their sound. On the album the beats are punishing and fit perfectly with Dino’s patented superhuman, staccato down-picked riffs. The first song also sets the table for the story, masterfully laid out with BURTON C. BELL’s brutal vocal performance and harbinger of doom lyrics. The overall story is not so new, but as far as recurring themes go you can’t go wrong with an Artificial Intelligence (AI) becoming sentient and then trying to eradicate its masters. “Recharger” is another slice of primo, old school FF. Cutting riffs, sinister beats and crafty keyboard work set the stage while Bell shreds his vocal lines. The chorus is great, and Bell reminds us how he was one of the originators of modern metal singing, switching up his brutality and adding melody with ease. The bands’ secret weapon is also back on board in Rhys Fulber (FRONT LINE ASEMBLY), who is as integral in the producer’s chair as one can be. “New Messiah” is just a beast of a song. It could have come out at any time in the bands’ career and has some insanely good riffs in it. It’s almost a breath of fresh air in this day and age to hear this track with its great synth work, key changes and dynamic chorus parts. When Bell screams “Future. Begins. Now.” you really feel the passion and pain of his delivery. This will be a great song to hear live. “God Eater” moves the story along dramatically with an eerie keyboard/guitar riff that may be partly inspired by one of the greatest horror themes ever. Even if it wasn’t a conscious nod, it definitely fills your ears with dread. “Depraved Mind Murder” sounds like the late 1990′s version of the band, unrelenting and harsh. “Virus of Faith” delivers more of the same vitriol and punch as earlier tracks. This cut also has some of Dino’s best stop on a dime rhythms, another key to his unique style. Other top tracks include “Difference Engine”, and “Disassemble”. This is definitely the best album under their moniker since Archetype (even if they won’t acknowledge that) and certainly right in line with the bands finer work from their heyday. I suddenly have the urge to watch a The Matrix Trilogy marathon and you will too!
Burton C. Bell and Dino Cazares: Together stronger than all.
Personal opinions tend to vary greatly when it comes to deciding upon a creative apex for the work of Chuck Schuldiner and Death. While the legacy, lasting effects and impact of Schuldiner’s work for the death metal genre-effectively blurring the borders of what extreme metal musicians can achieve when incorporating a progressive mindset into the framework-remain unchallenged, all of us possess our own preferences when it comes to the man’s body of music.
Yours truly offers up two very diverse selections when it comes to personal favorites: Death’s charmingly raw and unerringly brutal 1987 debut Scream Bloody Gore and this, musically mindblowing ’93 LP, the massive Individual Thought Patterns. Featuring the legendary Gene Hoglan behind the kit, fat string wizard Steve DiGiorgio on the bass and King Diamond’s main axeman Andy LaRoque, Individual Thought Patterns sit snugly in the middle between its compatriot tech-metal juggernauts Symbolic and Human, offering up mature songwriting sensibility alongside Schuldiner’s almost effortless knack for rhythmically punishing metal.
To be honest, the decision process between Individual Thought Patterns, Symbolic and Human basically comes down to the question of which flavor ice cream one enjoys: in other words, there isn’t really a wrong answer. Individual Thought Patterns features a memorable set of songs, however-”Jealousy,” “Trapped In a Corner” and “Overactive Imagination” serving as certifiable highlights, alongside album closing classic “The Philosopher,” a song yours truly humbly covered in my own band back in the day-which eclipses the comparatively more sterile nature of Symbolic, while also coming across as a bit warmer when compared to the clinical precision of Human.
Epically reissued by Relapse, the grooves of “Mentally Blind,” “Destiny” and “Nothing Is Not” can now be enjoyed by a whole new generation of tech-death wizards, here graced by a double disc presentation which also includes a bevy of live tracks and a studio outtake of “The Exorcist,” for good measure. Does all of this add up to ‘essential?’ You bet your ass it does.We still miss you, Chuck.
Thrash. The enduring style of music that has in just thirty years spread all over the globe, but has distinctly American roots. Bands from the Bay Area in San Francisco can be credited as helping to lay the foundation in the original hometown of the genre. FORBIDDEN was formed in the second wave of that burgeoning scene and like many bands, burned brightly for a short time before struggles interrupted success. First known as FORBIDDEN EVIL (the 1988 s/t debut by the same name is a classic you should own), they have always been an underrated property with a who’s who of former members (Robb Flynn, Glen Alveleis, Paul Bostoph, Tim Calvert, Gene Hoglan). Back with their first album in thirteen years, Omega Wave, they are hoping to remind everyone that they are still worthy.
Starting off with the mournful instrumental “Alpha Century” the album kicks off proper with “Forsaken at the Gates”. The track just rips with intensity right off the bat and is in line with their finest work. Clocking in at just under five minutes the song is chock full of crunching guitars, thunderous drums and the dynamic vocals of Russ Anderson. He is one of the more well rounded and underrated singers an in all of metal. Nearly ever track has a memorable melody part and he also brings it heavy enough for any thrash fan. The other immediate standout is co-lead guitarist Steve Smyth (VICIOUS RUMOURS/TESTAMENT/NEVERMORE) and his arsenal of impressive string shredding. Second track “Overthrow” is a straight up banger until the two minute mark when Anderson lets loose a ROB HALFORD caliber high scream. The song then breaks down into an old-school (think Killing is My Business… era MEGADETH) classical-esque part before returning to the the original riff. The chorus has a great gang vocal as well that should go over well live. More ridiculous guitar work from Smyth and Craig Locicero punctuates the neck-snapping “Adapt or Die”. You can tell from most of the performances that the band was just intent on stepping up and making the most impressive album they could muster. “Swine” slows things down a bit as the first half as a mid-tempo grinder and has a cool Middle Eastern flavor. Then it switches quickly into crunchy thrash mode and back again. “Swine” also seems to sum up the underlying theme of the entire album which is the folly of mankind, our lack of a questioning mind and the dire consequences that come with it. Following the interlude “Chatter” the next song “Dragging My Casket” has a bunch of complex musical themes going on. Aside from some crazy drumming by Mark Hernandez (VIO-LENCE/HEATHEN/DEFIANCE) and solid bass work from Mark Camacho the song has an OZZY class sing- a-long part and some impressive tempo shifts. Other standout tracks on the album include “Immortal Wounds”, “Inhuman Race” and the title track. All in all a very strong and occasionally spectacular comeback for FORBIDDEN.
1948 Rudolf Schenker, gutiarist of THE SCORPIONS is born.
1963 Reb Beach, guitarist of WINGER and WHITESNAKE is born.
1967 Gene Hoglan, drummer of FEAR FACTORY, DEVIN TOWNSEND, STRAPPING YOUNG LAD, and TESTAMENT is born.
2004
UK medical magazine Thorax issued a warning to music fans saying that listening to loud music in the car can give you a collapsed lung. One 19 year-old had been treated in Bristol after his left lung collapsed as his 1,000-watt bass box boomed out in his Fiat Panda.
This year at Cali Metal Fest, Gene Hoglan of FEAR FACTORY got put on blast and had his very own drum cam! Sure, the insane lights don’t help, but it’s still pretty rad.
THY WILL BE DONE was the first band on the main stage following the local bands. Coming out of the growing Providence, RI scene they are making a name for themselves as tireless road dogs. This is my second time seeing them and I really am digging their blend of 90’s metal styles (think old Sepultura & Machine Head, not nu metal) embellished with modern sensibilities and passion. They just rip it up live going from thrash to touches of death metal and back to a power groove-type stomp interchangeably. TWBD also has great vocals and thought provoking lyrics. They closed their strong set with new song “Earth’s Final Embrace”. Special props to vocalist Jim for his awesome Willie Nelson shirt!
SILENT CIVILLIAN was up next and the enormous response they got from the crowd impressed me greatly. Led by singer/guitarist Johnny Santos (also of Spineshank) SC plays an unapologetic blend of modern 80’s style thrash and metalcore akin to Trivium and Bullet for My Valentine. The combination works in spades for them where others trying this would just fall flat. On both their debut Rebirth of the Temple and their new release Ghost Stories they throw down tons of chunky thrash riffs and add great choruses with breakdowns galore. Santos and co-guitarist Dave Delacruz swap leads back and forth fluidly as well as the occasional harmony lead too. Santos is truly a great singer and he hasn’t lost any edge handling the guitar on top of the vocals. They may not be everybody’s cup of tea but most of the all the songs and the talent is there full steam. (more…)
I can see you mouthing the words now: “Who in goat’s name is The Elektrokutioner?” Odds are that if you are among the rabidly death-metal-dedicated and/or purchased a Razorback Records album released in the last year two, you already have a pretty good idea. Even then you still may not realize the ubiquity of this bringer of voltage (I didn’t at first either). The Elektrokutioner just happens to be one of the most productive musicians, lyricists, songwriters, and band members in metal today. In other words, the guy is a freakin’ metal machine! In addition to his soup-to-nuts work in DECREPITAPH as multi-instrumentalist, conceptualist, songwriter, and more, The Elektrokutioner has performed and/or written lyrics on albums by FESTERED, SCAREMAKER, ENCOFFINATION, BEYOND HELL, REVOLTING, TOMBSTONES, SKINCRAWLER, BASTARD CROSS, and HOODED MENACE. On top of it all, he’ll be drumming on the next FATHER BEFOULED album! If the measure of a man’s worth was based purely on volume of output, then the Texas shocker would be a gold medal winner; but what really makes his contributions special is the fact that the quality level matches that of the quantity. Albums like DECREPITAPH’s Condemned Cathedral and Beyond the Cursed Tombs, REVOLTING’s The Terror Threshold (lyrical contributions), and FESTERED’s Flesh Perversion are damn fine examples of smartly written, appealingly morbid, and seriously grooving old school (read: anti-triggers/anti-pro-tools/anti-technical overkill) death metal, though his contributions reach beyond death. The Elektrokutioner lives it, breathes it, talks it, and walks it. And he’s not even warmed up yet. Just read; you’ll see.
MAA: Does a minute of the day ever pass by without you at least thinking about death metal?
Elektrokutioner: Actually, yes, a lot. I get burnt out listening to death metal and I really don’t do it that much. There are so many cool styles of metal that you’d have to be a moron to only listen to one of them. Now if you said “thinking about music,” then I would probably say no.
MAA: Fair enough. May I ask about your “day job” or the job that pays the bills, which is an assumption I’m making based on death metal’s notoriously skimpy money-making opportunities?
Elektrokutioner: Nothing right now. I live where it’s real cheap to live so selling old crap on e-Bay, Craigs List, and getting a little money from sales from my bands gets me by for now.
MAA: Even when you aren’t performing on an album, you are sometimes contributing lyrics to it, such as with the new REVOLTING album, The Terror Threshold. How did you get involved in writing lyrics for projects other than your own and on what albums can we find your contributions?
Elektrokutioner: Well, it’s mainly for Razorback-related bands/people that I’ve come to be friends with over the years. I’ve written lyrics for both albums by REVOLTING and HOODED MENACE, as far as bands I’m not in are concerned. I think that is it, although I could be forgetting one. (more…)
