Fernandes Guitars - 2009 SHIN Series

SHIN was born in 1965 in Kanazawa, Ishikawa Prefecture, Japan. In 1990, SHIN followed his dreams as an aspiring musician to study to Los Angeles. During his brief stay there, he was exposed to various forms of Airbrushing street performances, which changed his outlook on art.

Airbrushing is an art form that requires a real eye and a keen sense to create something special. Unlike painting by a normal brush, when creating an airbrushed picture, you have to have distance from the original picture. The main characteristics of airbrushed work are great color graduation and its expression.

By many artists, airbrushing is better known as painting by a machine rather than by hand. Hand painting is a lot more of a sensitive art form than airbrushing, which traditionally uses molds. Instead, SHIN created a new technique by capturing the strokes of a paint brush in traditional paintings. This freehand technique was what amazed people about SHIN’s work.

After returning to Japan, he educated himself and started producing Airbrushing work himself, using the same techniques used in other industries such as Automobiles, Bicycles, Leather Apparel, and Guitars. However, he began questioning the airbrushing technique in Japan, so he shifted his outlook towards the international market.

After some time, SHIN picked Erotic Art to be his specialty, always wanting realism and seeking evaluation of his brush techniques by other artists.
This is when he established a relationship with Mr. Sorayama, who is the master of Erotic Art, and introduced SHIN into the world of Erotic Art. Through his mentorship, SHIN’s work began to be recognized by people around the world.

In December 2001 and February 2002, SHIN had his first own exhibitions at Echo Gallary in Chicago. In April 2002 “The Art of SHIN” was published by MR Publishing. Since then, original pictures have been displayed at several galleries. SHIN’s original works were also displayed at SEMA Show in Las Vegas, three series from 2005.

In 2005 SHIN released “SHIN Real Airbrush Technique VL 123” and he has also worked as instructor of Iwata Certified Airbrush.

In 2005, SHIN began collaborating with Fernandes Guitar Co. to create his DRAGON Guitar model. Because SHIN’s heart was originally in music, he felt that Guitar Art is another one of his great strengths along with airbrushing. He has been influenced by a variety of artwork that many popular guitarists over the years have used.

He has designed and produced guitar art for other artists, which inspired him towards creating the art of the “DRAGON,” which was used for automotive companies such as Lamborghini and Ferrari. He has recently expanded his brush work into other areas such as Nail Art and Body Art, and his work is well recognized at historical temples, for expressing not only tradition, but brilliance and solidarity.

Through SHIN’s work, he strives to bring out the unexpected and an element of surprise out of people. This is what he strives for out of his work. We look forward to seeing what he creates in the future.

Fernandes Guitar 2008 Catalog - Company Bio

I revamped the Fernandes Guitars USA's company bio below. This is also available on the company website at http://www.fernandesguitars.com/.

For over four decades, Fernandes Guitars has dedicated itself to building quality guitars and guitar accessories. Throughout the company's history, they have sold a quality line of products, making them the largest guitar manufacturer in Japan.

Fernandes Guitars began in 1969 in Japan, originally building Flamenco Guitars. As the company flourished over the years, the company expanded its production line to include an extensive line of acoustic and electric guitars, bass guitars, amplifiers and accessories.

During the 1970s, the company established its name through building guitars that challenged other well reputable guitar manufacturers from the United States and Europe. Artists such as Steve Jones (Sex Pistols), Robert Fripp (King Crimson) and Steve Hackett (Genesis) are some of the musicians that have played the early models.

In 1992, following the company's reputation and history of success throughout Asia, Fernandes USA opened its doors in Los Angeles, California. Sticking to its reputation of building quality products, it quickly established a presence within the American guitar market by offering quality instruments at affordable prices.

In 1996, the Fernandes USA Custom Shop made bold moves by expanding its scope by advancing development within its guitar craftsmanship. Through models like the Ravelle and Nomad, which introduced the Sustainer System technology, our Research and Development Department sought out how guitar players of the future would play. Catering to everyone from the first time buyer to the seasoned pro, Fernandes offers many options to meet their needs. An invaluable understanding of the player fuels our strong committment to the consumer and the quality they demand. This is the approach that helps establish Fernandes as the leading guitar manufacturer in Japan and to become a competitive manufacturer in the American market.

The company has drawn strong acclaim for building qulaity bass guitars, as testified by probably rock's greatest bassist, Robert Trujillo. One of its most popular models is the Tremor Deluxe, which is played by Tony Campos (Static X/Asesino). Sticking to the company's trademark look, this model has the feel of models of past models, but includes many of the modern specs that would attract today's top players. Using the elements of traditional style with contemporary techniques, Fernandes continues to provide a unique voice for today's musician, pushing the limits of guitar manufacturing with innovative body shapes and hardware configurations. Guitar players demand a vintage feel with a modernized look.

Fernandes supplies the best of both worlds without any compromise. Fernandes is the key to defining your sound and taking it to the next level.

Levon Sultanian/ANJ Press Release

For Immediate Release:
Former Onesidezero Guitarist Records With Russian Metallers ANJ, Announces Upcoming US Shows.

Former Onesidezero/Abloom guitarist Levon Sultanian has been collaborating with Russian metallers ANJ on new material for a full length recording. He has been writing and recording new songs with the Russian metallers, who they are currently seeking an international recording deal. Their forthcoming release will be their first recordings available outside of their native Russia.

"I just want to say thank you to all the fans that have been sending emails and showing concern to my parting ways with my previous band. I've decided to move on and have been busy working on a few new projects which I'm very excited about. One of which is still to remain a secret. As for the others, I've been fortunate to be working with such a great musician and songwriter in the studio and now live, Anatoly aka ANJ. America welcomes ANJ. I'm looking forward to the new future in metal music and just music in itself! Cheerz to all!”

Sultanian co-wrote and recorded the song ‘Gorbachev’ in Los Angeles with producer John Travis (Static X, Kid Rock). Stone Sour drummer Roy Mayorga also played on that track. The song is available to stream on their Myspace page at www.myspace.com/anjkill or their official website at http://www.anj.su/

ANJ was formed in Moscow, Russian Federation in 2003 by vocalist and guitarist Anatoli Zhuravlev. The band has previously released two full length recordings, Under An Intent Target and 100 Miles Straight Ahead in their native Russia. They have extensively toured across Europe, appearing at various festivals such as Metalmania 2005, Finnish Metal Expo 2006, and the Soul Ecology Festival in Moscow, Russia in 2005.

ANJ will be playing their first upcoming US shows with Sultanian on guitar. Filling in on drums for these dates is Kenneth Schalk (ex-Candiria, Hope Kills Fear).

May 7th – The Rave/Eagles Club – Milwaukee, WI (Gigantour with Megadeth, In Flames, Children of Bodom, Job For A Cowboy and High On Fire)

May 9th – The Rave/Eagles Club – Milwaukee, WI (with As I Lay Dying)

For more info on Levon Sultanian, please visit www.myspace.com/levsidezero and www.myspace.com/levonsultanian.

Dead Hearts Saints bio (2008)

Dead Heart Saints bio
Bio written by Rei Nishimoto

Creating music from the soul and the gut is what most musicians strive for. Sometimes returning to the basics is where the inspiration lies. Dead Heart Saints is a band that fuses powerful rock melodies with driving punk rhythms, without losing any of the edge.

Drawing from a variety of musical influences, ranging from Led Zeppelin to Soundgarden to Radiohead, gives an idea of where the inspiration comes from. Songs like ‘When You Fall’ and ‘In The Light’ represent solid tunes filled with melody and a guitar driven sound, while ‘All I Said’ and ‘Saints of Nowhere’ are a guitar driven tune full of groove. Plus frontman Mark MacIntosh (aka Mac)’s lyrics touch upon a wide variety of subjects, from deep personal experiences to religious issues. But with his distinctive vocal style wrapped around the music, there is something special about to happen here. Some of their deepest, darkest music has yet to be written.

Inspired by bassist Marcelo D. Rapp (aka Cello D9), he began creating his own music after moving in a different direction than what he was doing with veteran metal band Soulfly. Finding his role within the band limiting, he eventually parted ways. Understanding how difficult it is to succeed in the music business, he felt the need to move forward and face this head on.

He was briefly in Abloom with former Soulfly bandmates, guitarist Mikey Doling (Snot, Invitro) and drummer Roy Mayorga (Stone Sour); along with vocalist Jasan Radford and guitarist Levon Sultanian (Onesidezero). They recorded 3 demos produced by Shavo Odajian (System of a Down), which became highly acclaimed by the music media. But internal conflicts prematurely ended the band, landing Cello to start over from scratch.

In January 2007, former bandmate and friend Jasan introduced Cello to MacIntosh and guitarist Jason Berkman (aka JB). They were also looking to start a new band following the end of their band, Dempsey. The three began writing music and discovered that there was chemistry between them. They later added drummer Trevor Statfford (aka T.Rex), formerly of Shuvel (Interscope Records) and played their debut show at the Malibu Inn in Malibu, CA, impressing the local viewers with their charismatic live performance.

Dead Heart Saints is current playing in all California regions and will be playing abroad soon. For all the latest updates, please visit http://www.myspace.com/deadheartsaints.

Enjoy the world of Dead Heart Saints and experience this phenomenon for yourself….

AGONY, Bio – 2008

The spirit of Latin American metal is felt across the globe, and each area has spawned its own identity within an already groundbreaking subgenre. But after two decades of existence, AGONY is ready to keep their death-thrash brand of metal assault alive.

AGONY burst out of the Columbian metal scene in 1992, when then-college students, Alfonzo Pinzon (drums), Andres Jaramillo (lead guitar), and Ernesto Robayo (rhythm guitar) started playing together. They later added Hector Lozano (bass) and Ernesto Velasco (vocals) to round out the original lineup.

They released a demo tape in 1994, with all of the songs controversially written in English. The response to their demo, along with their energetic live shows helped attract a solid fan base. They later landed support slots for international acts such as Testament (USA) and A.N.I.M.A.L. (Argentina), as well as headlining the Rock Al Parque festival numerous times.

One of their shows was turned into a live album, Live All The Time. This release became one of the first live recordings released by a Columbian metal act. This release also featured new members, vocalist Cesar Botero (ex-Sangre Picha) and guitarist Carlos ‘Belo’ Marin (ex-Kilcrops).

AGONY reached a milestone within the Latin metal scene through the release of Millenium in 1996. Fusing Latin percussion sounds and powerful death/thrash sounds, this release became an instant classic amongst the South American underground scene. New bassist Carlos Reyes helped the band take their sound to new heights and placed AGONY within the forefront of the Colombian metal scene.

In 1999, AGONY made a bold move and relocated to Los Angeles to record Reborn (Sum Records). Shortly after their move, Reyes left the band and Marin to follow shortly after. AGONY had utilized the bass services of Tony Campos (Static X) and Louiche Mayorga (Suicidal Tendencies, Horny Toad) for live and recording purposes.

Botero left AGONY in 2001 before the release of Reborn to return to Bogota, Columbia. He is currently in Decode, with the former members of Pestilencia.

In 2002, AGONY headlined the Rock Al Parque festival, with vocalist Jeez (ex-Crux) and Tony Campos.

Unable to find a permanent vocalist, Pinzon and Jaramillo both started a new project called Dia De Los Muertos. This new project consisted of mutual friends playing uncompromised metal with a unique Latin flavor. They were invited to headline the 2006 Rock Al Parque festival, with Body Count bassist Vincent Price and Ruin vocalist Nick Reyes. The group surprised the crowd with a few AGONY songs within its setlist.

In 2006, the 10th Anniversary edition of Millenium was released, with a completely remaster and an enhanced CD with video clips from their Rock Al Parque Festival performances.

Since then, the classic Millenium-era AGONY lineup has reformed and is working on new music. With each member bringing in their experiences back into the band, AGONY is unleashing two decades worth of metallic brutality onto the world.

As Blood Runs Black – Mediaskare, 2007 - Bio

Within the glitter and glamour that makes up much of Los Angeles, an underground scene has taken on a life of its own and became an immediate counter reaction to its immediate surroundings. This is where As Blood Runs Black arose from to represent Southern California death metal.

As Blood Runs Black began in Summer 2005, when a group of youths started a band to write the most extreme music they could create. They settled on the band name As Blood Runs Black, because according to vocalist Chris Blair, “Everyone is created equal. All people bleed the same.”

Coming from various areas across Los Angeles, the band finally began playing local shows with the line up of Chris, guitarists Ernie Flores and Sal Roldan and bassist Nick Stewart.

Allegiance was recorded and produced by Zac Ohrin (All Shall Perish, Animosity) in Oakland, CA. With the watchful eye of Ohrin, As Blood Runs Black has captured the intensity of its live sound, without losing any of the technical aspects.

Taking the aggression and the technical aspects of death metal, the bottom heaviness of roots hardcore and metalcore, and adding in their love of the craziness of At The Gates-style death metal, As Blood Runs Black began planting the seeds of creating a new generation of underground metal.

“Influences come from a riff or a beat, and whether we could relate to it,” said Sal. “There is no set way we work. It’s a feeling that we work around.”

It was one of the band’s early shows where the band found itself and what made things work. “It was at Smart City Grind (in Azusa, CA) with A Dying Dream,” said Chris, about the show. “The show was awesome. Everything just clicked. The kids were reacting and really into it. It was nuts,” added Nick.

Live is where As Blood Runs Black has proven itself. They have already taken part on such tours as the Summer Slaughter Tour 2006 with Decapitated, the BrutaliTour with Animosity and Beneath the Massacre, and tours with Napalm Death and Walls of Jericho. Their workhorse mentality has shined through when talking about the band’s hard work ethics. Plus they have attracted fans through their non stop touring, and especially playing on some of the tours they have participated on.

“The Brutalitour show in Wisconsin was one of the most intense shows we played!,” said Nick. “There were kids pitting everywhere. Kids were jumping off the speakers. It was out of control!”

Despite touring non stop, the band has appreciated the support from long time fans. They have taken the time to show their appreciation for the support on every tour stop. The band also is in contact with fans through their Myspace page, which they operate themselves.

They are currently working on songs for the new album. Rough versions of songs are posted at www.myspace.com/asbloodrunsblack. Roldan says about the new material, “We’re not sure which way the musical direction may go. But so far, the music flows a lot better. Some of it is more melodic. There are songs for the hardcore kids, and songs for the death metal kids. It’s everything we know and can play.”

Mourning Magdalene, Bio - 2007

Finding inner peace through darkness is a journey that every individual has sought out throughout time. But very few have experienced a musical journey that Mourning Magdalene has ventured upon.

Mourning Magdalene is the musical vision of Dee Jay Nelson, a Chicago based musician who began creating songs that documents his life over the past decade.

Most recently, he played in Spyder Baby (Blind Illusion Records), as a recording and touring guitarist, as well as earning song writing credits on the track, ‘Let Us Prey.’ Despite gaining invaluable experience within his brief time in the band, Nelson quit Spyder Baby to focus his energy entirely onto Mourning Magdalene.

His debut EP, Six Songs of Self Loathing, takes listeners through a wild ride through his inner darkness. Musically, Mourning Magdalene steers like a wild ride through a funeral, wrestling with his insanity along the way. The CD opener ‘Bite’ bursts with walls of explosive guitar riffing and shouting metallic vocals slithering along for the ride. The slower tunes, like ‘Sunday’s Best,’ explore the darker sides of the band, fusing melodies with his cryptic overtones.

“The darkness that guides my writing comes from an overwhelming lack of self worth accompanied by an eternal broken heart. I find it very difficult to get over even the slightest betrayal,” said Nelson, about his songwriting inspiration.

Nelson began studying music under George Bellas (Shrapnel Records), learning guitar and music theory under him at age (?). He graduated in 1998 from DePaul University’s School of Music in Chicago. Some of his post-graduate ensemble and solo pieces was performed at universities around the Midwest, including Northwestern University, Harper College and Skokie Liberal Arts Center.

His other credits include writing and performing music for such people as actress/icon Pamela Anderson’s Barb Wire pinball game and the television version of the movie (Gryphon Designs, Ltd); and the Oakland Raiders’ theme song ‘The Autumn Wind’ for HR Clicks, Inc. His music was also heard at a Chicago appearance by Howard Stern Show producer Gary Dell’Abate (aka Baba-Booey).

Mourning Magdalene is currently assembling a touring lineup to begin playing shows across the Midwest. Six Songs of Self Loathing is currently available through ITunes.

Index Case, Mortal Music, 2006 - Press Release

FOR IMMEDIATE RELEASE:

Index Case Releases Self-Titled Debut on Mortal Music/Platform Group on September 27nd. Tour Dates To Follow

Index Case’s self-titled debut will be released on September 27, 2005, through Mortal Music/Platform Group, distributed through Fontana/Universal. This is the debut release for the newly formed Mortal Music label started by Tim King (Soil) and Rob Such (Twelve Gate).
“We are very excited to get to work on the Index Case release,” states King. “Not only is it our label’s first release, but I have seen this band really develop themselves over the last year I have known them.”

“As with any release, it is going to take a great deal of hard work from all avenues” adds Such. “But at the end of the day, the music does the talking, and I feel this release speaks volumes.”
On Index Case, these Indianola, IA natives create a sound that captures absolute rage, darkness, deception, melody and depression with the burning desire to deliver a message. Their first single and video “Deserver” conveys every aspect of what Index Case strives to express to listeners.

"After releasing three indie CD's on our website, appearing on two nationally released soundtracks and touring the country five times in the past three years, I can't stress how awesome it feels to finally be able to say that on September 27th, 2005, our incredible family of fans will be able to find our new full length CD in stores across the country. Without their undying loyalty and never ending support, none of this would be possible. And coinciding with the release, we're equally excited to take our show on the road for the next year. The stage is where Index Case was born. That's where the sickness began. That how it will continue to spread,” said lead vocalist Joe Ansley.

Index Case will be on tour supporting Bobaflex throughout September, with more dates to come as they are confirmed. The ‘Deserver’ video is available for viewing at http://www.trueplayer.net/ftp/winmediadeserver.wmv.

Veer, bio - unsigned/Vancouver, BC, Canada, 2006

"Every song we write about is about hope, whether it's about hoping to get the girl back, being in a better place, or not being spiteful or cynical. Veering away from the dark and into the light."

VEER was formed in late 2004 by Crispin and guitarist Eric Schraeder. Originally from Port Alberni, BC, the two longtime friends surprisingly found themselves living as neighbors: "we knew each other previously because we had played in bands together. We were both living out of our rehearsal studios in downtown East Vancouver," recalls Crispin.

At the time Crispin was the front man of Everything After, where creative differences led to his departure. While the remaining members of Everything After regrouped under the name Hedley, Crispin was gaining attention as a songwriter with credits on Motley Crue's drummer Tommy Lee's solo CD Tommyland: The Ride. Eric, who had recently relocated back to Vancouver after a stint in Los Angeles with 40 Foot Echo (Hollywood Records), was working on projects of his own. Next drummer Beni was brought into the fold who has established himself as one of the top drummers in the city. Finally Roots, and Fid who play bass and guitars respectively came on board to round out VEER's lineup.

Much of VEER's music is a reflection of their life experiences. "Wish You Well" and "Sold Me Out" clearly demonstrate a positive message while showcasing their skills as songwriters. "Wish You Well" is about the area we're living in," explains Crispin, "looking at people who can't turn their lives around. No matter how rough a time we're facing, our life isn't that bad. The only thing we can do for them is to wish them well."

VEER is currently putting the final touches on their debut full length CD with producer Dean Maher (Trapt, Atreyu, Rise Against) at Green House Studios in Vancouver, BC.

Ozzfest: Second Stage Live CD Press Release – Divine/Priority 2001 (Press Release)

The bands of today will be the first to admit they have soaked up the Ozzy influence and are now releasing it back to the public in their own distinct way. Bands like 'Queens of the Stone Age' and Disturbed who are not just chomping at the bit but positively swallowing it whole! Ozzy gives them a chance to show the world what they can do with this double Ozzfest live release that not only gives us up and coming bands on the second stage but the full frontal assault from the big boys on the First Stage (Slayer, Sepultura, you know the score...)

Out on March 12th the live double CD celebrates the diverse talents to have performed at the now legendary Ozzfest rock festival. The brainchild of Ozzy and Sharon Osbourne, the touring rock festival reached it's fifth birthday in the summer of 2000, drawing 20,000+ capacity crowds across the USA, affirming that modern metal is truly enjoying a phenomenal omnipotence.

The Second Stage provides a coveted platform for up and coming rock and metal bands, (in tandem with the main stage playing host to the more established bands, headlined by Ozzy Osbourne) and Disc 1 boasts live recordings by rich new talent, who sealed their futures performing explosive sets in front of ecstatic crowds. Nu-metal and rap/metal cross-breeds injected a telling flavour to the line-up, and it is an indication of Ozzy's vision that these bands are already threatening to take over the world - the multi-platinum selling Disturbed recently enjoyed main support to Marilyn Manson, Queens of the Stone Age have become the darlings of crossover, and Kittie-mania has taken hold...

"The festival has become almost as much about the undiscovered new acts as the established bands on the main stage," says tour organizer Sharon Osbourne. "The kids want to be the first to discover what's new and the second stage is the perfect forum for that. We are even adding another side stage for this year's Ozzfest so that we can feature even more new bands."

Disc 2 is a re-issue of the original OZZFEST LIVE!, which was released in 1997 and has been long out of print. It includes exclusive live recordings from the inaugural Ozzfest of 1996, with highly desirable tracks from an array of metal luminaries from Slayer to Biohazard to Fear Factory, and most notably Sepultura's last ever recording with Max Cavalera. This bonus disc also includes two Sega Dreamcast games: a playable demo version of Battle of the Sexes and the full Sega Swirl game.

Disc 1

01.Soulfly - EYE FOR AN EYE

02.Disturbed - VOICES

03.Slaves On Dope - PUSHING ME

04.Kittie - SUCK

05.Primer 55 - THE BIG FUCK YOU

06.Queens Of The Stone Age - ODE TO CLARISSA

07.Pitchshifter - KEEP IT CLEAN

08.Taproot - MIRRORS REFLECTION

09.Soulfly - PAIN

10.Ozzy Osbourne - I DON'T KNOW

All songs recorded at The Ozzfest 2000,

Desert Sky Pavilion, Phoenix, Az., 30/08/00

Produced and mixed by Thom Panunzio

Disc 2

01.Coal Chamber - LOCO

02.Earth Crisis - BROKEN FOUNDATION

03.Powerman 5000 - ORGANIZED

04.Neurosis - LOCUST STAR

05.Fear Factory - REPLICA

06.Biohazard - THESE EYES

07.Sepultura - ATTITUDE (final recording with Max Cavalera)

08.Slayer - ANGEL OF DEATH

09.Ozzy Osbourne - PERRY MASON

Godhead - 2000 Years of Human Error (Posthuman/Priority - 2001)

We have made it to the 21st Century. What was billed as the information age has quickly devolved into the age of inundation by meaningless, white noise data. Rising above the din are the Washington, DC based underground cult heroes gODHEAD. Years of hard work caught the attention of modern rock visionary Marilyn Manson, who signed gODHEAD as the first band to his newly formed label, Posthuman Records. The final result is the band's Posthuman debut, 2000 Years Of Human Error, set for release on January 23, 2001.

Produced by Danny Saber (Black Sabbath, Madonna, U2, Rolling Stones) and mixed by John X Volaitis (Orgy, Marilyn Manson, Korn), 2000 Years Of Human Error captures the visceral aspects of the band's live performance, while highlighting the growth of the band's radical programming talents that give gODHEAD its unique razor-sharp edge.

From Jason Miller's aggressive and passionate vocals, to the sonic wizardry of bassist and programmer The Method, anchored by the driving musical force of guitarist Mike Miller and drummer James O'Connor, with 2000 Years of Human Error gODHEAD has captured in the studio, the heart and soul of the sound they honed over the past six years without compromising the pure power of their live performances.

As Executive Producer, Marilyn Manson oversaw development of the entire album. He played an essential role in taking gODHEAD to the next aesthetic level and aiming them towards the future. "He gave us direction on where he thought things should go," explains Jason Miller. "He worked quite a bit on `Sinking' and `Eleanor Rigby.' In a way, we both come from the same place - underground industrial goth rock. But obviously he's somewhere else now.and he's trying to bring us up there!"

Marilyn Manson and Reeves Gabrels (longtime guitarist for David Bowie) were two of the notable guests on 2000 Years. Manson lent his vocals to "Break You Down," while Gabrels played guitar on and co-produced "Tired Old Man." "'Break You Down' is a `destroy your enemy' type of song," explains Jason, "but it's also laced with satire, so having Manson was perfect for it. And Reeves has been a friend of the band's for several years. He does amazing things with the guitar and guitar synths, so we had him throw his flare into `Tired Old Man.' Everybody in the band has been a David Bowie fan as long as we can remember -- especially the newer stuff like `Outside' and `Earthling' that Reeves co-produced and had a huge part in. It was great to get some of that cool energy on our album."

gODHEAD, built a strong local following playing clubs in and around Washington, DC, eventually winning support slots on tours with bands like GWAR, Genitorturers and Christian Death, to name a few. The band also released three independent albums: gODHEAD (1994), Nothingness (1996) and Power Tool Stigmata (1998), which captured the attention of the underground rock press, and along with nonstop touring, helped to spread the band's fan base from the capitol city to the rest of the States and across the Atlantic to Europe and the UK.

Building their sound around the passion and musical proficiency of bands such as the Cure and Pink Floyd, gODHEAD uses modern electronics to create music that combines the best of the past and present. "We wanted something that captures our live sound - the raw toughness, but something that also shows our electronic side," says Jason. "I try not to listen to anything current. Instead I go back to the old records that influenced me. It's not like I try to avoid the radio like the plague, but I think if you stay true to why you got into music and not pay too much attention to what's going on around you, you have a much better chance of sounding unique." And on 2000 Years Of Human Error, gODHEAD has certainly achieved that goal.

Spineshank - The Height of Calleousness (2000) bio

Since their inception back in 1996, Spineshank has been hitting the Los Angeles scene HARD. They attracted the attention of Roadrunner Records, and released their debut album, Strictly Diesel, a year and a half later. The band immediately hit the road, playing to enthusiastic audiences night after night with bands like System of a Down, Fear Factory and Static-X. Strictly Diesel paid homage to the more accessible hard rock and was, in essence, a dam barely restraining the heaviness that has been unleashed on The Height of Callousness.

After much soul searching during their road-weary days, Spineshank was ready to unload the blood sweat and fears borne of Strictly Diesel's recording and support touring. The end result was The Height of Callousness - a fresh, new album that captures the agony and ecstasy of Spineshank becoming the band they were meant to be. "This record is about hitting your breaking point," explains Tommy. "It's when you get to the point where you don't feel anything anymore, whatever it is that gets you to that point, things like anger, frustration & depression, when those feelings take over, that is The Height Of Callousness."

The album was produced by Gggarth Richardson (Rage Against the Machine, Kittie) at Mushroom Studios in Vancouver, BC, Canada, and mixed by Scott Humphrey (Rob Zombie, Methods of Mayhem) and Frank Gryner at the Chop Shop in Hollywood, CA. The high profile team brought out the heavy side of the band, pushing them to new limits and helping to truly define the Spineshank sound. "(Gggarth) came and talked to us for three days without us ever touching our instruments. He wanted to know what we were going for and really got into our heads. His whole thing was 'tell me what you want and I'll bring it out of you.' And that's exactly what he did. He saw our vision and helped us achieve that," added Mike.

While Strictly Diesel laid down the basic foundation of their brutally down-tuned guitars and an undeniable groove with electronic overtones, The Height of Callousness took Spineshank to a whole new level, letting down their guard and reaching new depths of emotion and heights of intensity. From the wall of guitars mauling the listener on "Asthmatic" to the over the top anger-fueled sonic assault on "The Height of Callousness" to the melodic overtones on "Synthetic" and "New Disease," Spineshank has truly arrived with 11 new tracks that will "New Disease," Spineshank has truly arrived with 11 new tracks that will line. This whole record is extreme from one end of the spectrum to the other," says Johnny.

"['Synthetic'] has driving house-like grooves kicking through it, making people want to dance. [On "New Disease"] we set out on this one not to do the middle of the road thing any more. It has a very hooky chorus and overall the song is very melodic. It shows that we could write songs like these. We're not limited to one type of thing. We have a wide range of influences," says Mike.
As Spineshank embark on their latest venture, they are doing so with humility and confidence at the same time - a paradox that has followed the band from the beginning. The songs on Height of Callousness show how the band are fully prepared to set the world afire and renew faith in the personal nature of heavy music.