Category Archives: Interviews

The Chameleon Queen changes her colors for Dragon*Con performance with the Last Dance

By Jonathan Williams

When the Last Dance performed at Dragon*Con in 2007, the band was joined onstage by burlesque vixen Diamond Ice for an added visual presence thanks to her fan dance. Though that performance  would indeed prove to be her final frolic with the Last Dance, this year she changes her exterior to join the goth rock favorite for a Friday night/Saturday morning performance as the Chameleon Queen. Having also performed in the first two Dragon*Con Cabaret’s as a member of Big City Burlesque, Diamond Ice graced Dragon*Con stages in various ways before her continued transformations. While finishing up her costume and painting her nails in preparation for Friday’s show, the enigmatic Queen takes a moment to talk to Wrestling with Pop Culture.

Diamond Ice performs with the Last Dance at Dragon*Con in 2007. Photo by Moonbird Design

 

Following Diamond Ice’s performance with the Last Dance at 2007’s Dragon*Con, how did the Chameleon Queen get invovled with this year’s show?

I saw that the boys were playing and I sent Jeff [Diehm], the singer, a text message that said, “Hey. I’m really excited you guys are playing. Can’t wait to see you.” The response back was, “So you’re dancing with us again, right?” It was that easy.

Have you danced with them anywhere outside of Dragon*Con?

No, not at all.

What do you have in store for this year’s show?

They asked me to do one song with them, so I have a costume that’s being worked on. It will be kind of a surprise and something a little different from what I usually do.

Which song will you be performing with the band?

Jeff told me to choose between two songs I picked “Distantly”. The other was about a girl losing it and that would have been a little more performance art and a little crazy. I figured the guys would like something a little prettier instead of something a little crazy. Essentially, I didn’t want to scare them.

The Chameleon Queen as Evangeline the Scream Queen at the recent Black Metal Burlesque show. Photo by Derek Jackson Photography

And you’ll be appearing at their table the rest of the weekend?

Yes, I will be booth babing it for them, hawking their merch.

You tend to stay busy with shows outside of Dragon*Con. What else do you have scheduled in the near future?

I’m doing Mon Cherie‘s Rockabilly Lounge on Sept. 10. That’s the outer space show. The next week, on Sept. 14, I’ll be singing a song with Spaceseed and dancing with Gunslinger at the Masquerade. That Friday, I’m doing Rockmageddon with Andrew Adler and Mon Cherie at Smith’s Olde Bar. On Saturday, early evening, several of us from Musée du Cœur will be on the Imperial Opa stage for the East Atlanta Strut. Then we’ll be winging it over to do a show at Trilogy Bookstore at 9 o’clock that night.

The Last Dance. $30-$120. 1:30 a.m. Sept. 4. Hyatt Regency Atlanta, Centennial II-III. 265 Peachtree St. NE, Atlanta, Ga. 770-909-0115, www.dragoncon.org.

 

 

Mary Magdalan puts a “N3RV” hold on the electro scene

By Jonathan Williams

With a look that’s as vivid as her sound, Mary Magdalan mixes grime, glam, hip-hop and electro to create a musical experience that could be described as divine. With DJ/producer Gzus providing the beats, Magdalan lays down raunchy rhymes and hardcore screams that have caught the attention of such badass figures as current Absolute Intense Wrestling Women’s Champion and Dropkick Divas founder Jessicka Havok, who uses the song “Dirty Trash” as her entrance theme. “The chorus is ‘We don’t give a fuck’ and that’s simply the presence of my persona in the ring. The song’s beat is the way I move, and I am someone who will do whatever it takes in the ring to win – even if that means fighting dirty.”

Currently on tour promoting her third CD DIGI.N3RV (released this week), Magdalan takes a moment to discuss her name, sound and ability to impress someone like Havok.

Despite the variation in the spelling, the name Mary Magdalan definitely brings to mind a somewhat controversial historical female figure. Why did you decide to use that name for this musical project?

I picked Mary Magdalan because she was a woman who never got to speak her side.

Your music is kind of a weird amalgamation of hip-hop, electro and metal. Where would you say you were drawing your inspiration when started creating this music, the look and overall concept?

Gzus is the producer on this project and both Gzus and I really enjoy all types of music. For us, we wanted to just make music that didn’t really have any boundaries. So when we sit down to make music, that’s what we do. We don’t try to fit it into any one genre. We just try to do what we feel on each track.

From what I’ve heard and seen from you, I would guess you’ve also been inspired by creative sources outside of music. What would you say has inspired your in-your-face look and aesthetic?

I’d say my biggest inspiration in making music has been things that I’ve experienced, gone through and seen in my life. Definitely fashion plays a big part in it. For us, it’s just anything that we see that people create that inspires us to go write a song. I personally like to write from experience – things that I might have done, things that I might have seen, feelings I might have gone through – that’s always been my vessel for writing.

Jessicka Havok, one of indie wrestling’s most promising female talents, uses your song “Dirty Trash” as her entrance theme. How did that come about?

We were on tour and she came to the show in Cleveland. I met her after the show and she was super sweet and awesome. She really loves the music and she asked me if she could use “Dirty Trash” as her song. I was like, “Of course!” She just happened to come to a show and the rest is history. She decided to use it and I was really excited about that because she’s a really sweet girl.

Have you had a chance to see any of her matches?

I know that she’s badass. I’ve seen some of her stuff and she’s awesome, I can definitely say. We totally support her.

Has your music been used for marketing purposes like that elsewhere?

One of our songs is in a horror movie that’s coming out soon. I know there have been other people who have used our stuff in the past and whenever anybody wants to use our stuff, it’s awesome. It’s a total blessing and we think it’s pretty cool.

On your current tour you’re hitting some cities that you’ve never played before. For those who have not yet seen you perform, how would you say the live performance compares to your recorded music?

Oh, I think our live shows definitely bring it to life. They’re definitely higher energy. We have an awesome light show and I definitely think there’s a lot more energy when we do it live.

For more information, go to www.facebook.com/marymagdalan.

Celldweller kicks off the Wish Upon a Blackstar Tour in Atlanta

By Jonathan Williams
Whether you’ve ever heard of Celldweller or not, you’ve likely heard the band’s music in movie trailers, TV shows and WWE pay-per-views. The brainchild of former Circle of Dust front man Klayton, Celldweller’s cyber rock incorporates techno, trance, drum & bass and industrial rock for a sound that is futuristically aggressive. With the first leg of his Wish Upon a Blackstar Tour 2011 kicking off at the Masquerade in Atlanta this Friday, Klayton takes a moment to talk about Celldweller’s place in pop culture today.

Photo by Vladimir Ponomarev

You’re starting your tour in Atlanta. How will this show and tour compare to your last Atlanta show at Dragon*Con?

For starters, we had a very abbreviated set at Dragon*Con. I think we only had a 30 or 40 minutes set, so this going to be a full 65-70 minute set with more content, new songs and a much  more intimate setting considering that Dragon*Con was 3,500 people. I think it will definitely be a different experience all around the board.
The second member of Celldweller’s live incarnation is Bret Autrey, whose solo project is Blue Stahli. Since you produced Blue Stahli’s album, do you guys work any of those songs into your set?
Not at the moment. His debut album came out about a month and a half ago on my label, FiXT. Part of the whole premise here is getting him onstage with me to kind of introduce my fanbase to him and the fact that he and his music exist. As it turns out, a lot of the people showing up to the shows already know Blue Stahli, so that’s a good sign.

Photo by Chuck Wheeler

One of my first club concerts was another one of your bands, Circle of Dust, back in ’94 or ’95.

Yeah, I can’t even remember how far back that would have gone. But as it turns out, Atlanta was always an anomaly for me because Circle of Dust was on a really small label with really no support from anyone. For some reason a show down there had been playing some of my songs and one of my tracks ended up becoming one of the most requested songs on 88.5, the college station there. All I knew was the first time we ever played Atlanta we played a place called the Cotton Club and it was sold out. There were 350 people there and I couldn’t believe it because the rest of the time we were touring, we were playing for 30 kids or 50 kids, depending on the market. The next time we came through Atlanta, we played the Masquerade, which is an 1,100-capacity room and we sold that out. We loved playing Atlanta because that was the closest we were ever going to be to rock stars at that point in our lives.
Like Celldweller, Circle of Dust was a solo project with a touring band. And while they are somewhat similar, there was a slight change in direction from industrial rock to more techno and trance-influenced rock with Celldweller. Why did you decide to go in a slightly different musical direction?
That’s just part of being human. As a human you change naturally and I wasn’t going to fight that. What really propelled the whole thing was that the label I was signed to at the time went into bankruptcy and there were all kinds of legal battles between the label and all of the artists, including me. That basically tied me up for a year and a half where I couldn’t release a new album or anything, and I couldn’t really continue forward as Circle of Dust. It was around then that Criss Angel had approached me to work with him on some music. At that point I decided I was going to end Circle of Dust, work with Criss and we had our own project together, Angeldust, for the next six years. From there Celldweller was the most obvious next step for me because I had changed musically over time and I wanted something completely fresh.
Did Angeldust do much touring or was it more of a studio project?
We played Madison Square Garden in New York for two weeks, we were on the Howard Stern Show, the Ricky Lake show back in the day and things like that. But it wasn’t a touring thing, per se.
Your first CD came out in 2003, but your newer music is only being released online.
Right now it’s being release digitally only. Instead of making people wait two years while I work on an album, then release the whole thing at once, I’m releasing two songs at a time. The next step after that is actually releasing the full disc. As of now there are eight songs towards the new album that have already been released over the last few years. Then, in a few months, the actual full-length CD will be pressed and it will include another four or five songs people haven’t heard yet. We’ve had a lot of success with that and that’s what my fanbase wants. We came up with the idea of instead of making people wait, let’s give them music right now. For the people who care, they’ll buy it. For the people who don’t, they can wait for the CD. What I ended up doing was not only releasing two songs at a time, but with those two songs I’ve also released generally a half hour to 45 minutes’ worth of demos for the two songs being released. So people can hear from the earliest inception of where the idea started all the way up through the finished product by listening to 15 or 20 demos per song. I also take it another step further by doing an audio commentary over the demos so I can kind of explain where this idea came from or whatever. That’s sort of a deluxe release that’s only, like, a buck or two more than the standard release. My fanbase has really responded to that and actually come to expect it. We’re just creating our own model for the current day and it’s working for us.
Another way that you’ve gotten your music out to broader audiences has been through licensing it to movies and video games, and having the song “Fadeaway” used as the official theme song for WWE’s Night of Champions pay-per-view last year.
Yeah, I’ve had music in a lot of movies, a lot of television, a lot of video games. Some of it is licensed and some of it is actually custom work. For instance, the game Dead Rising 2, I wrote the theme for the game. Then there are other times where people say, “We love this song you’ve already created. We want to license it for our movie, this video game or that TV show.” That absolutely helps float the ship, for sure.
Aside from having “Fadeaway” licensed for that pay-per-view, have you ever done anything collaboratively with WWE?
I’ve been approached to do that, but the timing wasn’t right so I didn’t actually do anything. That’s not to say that maybe in the future something won’t happen, but as it stands right now I haven’t done anything directly [with WWE].
I don’t know if you’re a wrestling fan, but are there any particular people you’d like to do entrance music for or anything like that?
I actually haven’t owned a television feed in two years, so I don’t even know what’s going on in the real world. I live in the digital age and I get the content I want to watch and stream it from the web. I don’t even have time to watch much TV, so it’s very difficult for me to stay up on all the TV shows, all the wrestlers and other stuff.
Celldweller with Inviolate. $12-$17. 7 p.m. July 1. The Masquerade, 695 North Ave., Atlanta, Ga. 404-577-8178. www.celldweller.com, www.masqueradeatlanta.com.

The Von Ehrics hit the road with a “Two Foot Stomp”

By Jonathan Williams

When you talk about a group of rough-and-tumble guys from Dallas known as the Von Ehrics, it would be easy to assume you’re discussing the tragically legendary Von Erich wrestling family. But aside from a slight

Photo by Jason Janik

variation in spelling, the Von Ehrics have been kicking ass in a very different way for the past decade or so. Performing on a stage instead of inside a ring, and employing the use of guitars, drums and amplifiers instead of dropkicks, armbars and the devestating Iron Claw maneuver, these Von Ehrics maintain a Texas-sized cowboy toughness with a sound that mixes country twang with punk energy.

Though its title could also be a wrestling move reference, the band’s recent album, Two Foot Stomp, adds a bit of melody and maturity to its bar brawl-like sound.  This slight stylistic change, with an additional gospel influence on “Lord, I Pray,” can be attributed at least in part to the contributions of new members, bassist Paul “Santi” Vaden of Ghoultown and former Dixie Witch guitarist Clayton Mills, joining singer/guitarist Robert Jason Vandygriff and drummer Gabe Aguilar. The band, currently on tour, takes a moment to talk to Wrestling with Pop Culture about its name and sound.

Why did you choose a band name that is clearly inspired by a legendary wrestling family, and why did you choose to use a variation on the original spelling of the Von Erichs?

Vandygriff: Well, we’re from Dallas, Texas. Growing up, the Von Erichs were king shit, man. You couldn’t get any bigger than the Von Erichs. I mean, they wrestled at the Cotton Bowl. They were big when we were kids, so when we were putting the project together and looking for names it slipped out of one of our friend’s mouth and when he said “the Von Erichs,” we thought it was great. I sent an email to Kevin [Von Erich] and told him we wanted to use the name and had a lot of respect for him – not necessarily that we were wrestling fans, but that we just liked the history behind the name. It was really like a tribute to Dallas. I got a response from a representative saying they didn’t really want us to use the name, so we changed the spelling just a little bit so you might not even catch that there’s a difference.

Later on, as the band got a little bit bigger and got a little more notoriety, especially around Dallas, I guess it was Kevin’s daughter that came out to a show and she said they were fine with it by then and that she liked the music.

Rock music and wrestling have gone hand in hand for a while, but with wrestling being such a big part of pop culture today the connection has become even more obvious. But in the case of the Von Ehrics, the name, like the music, is a bit of a throwback to the more wild and wooly days of wrestling. Was that also part of your decision to use that name?

Vandygriff: Absolutely. That was why we felt like it worked so well with what we do. Our music is pretty rowdy and we have a reputation for being pretty rowdy, so it fit really well.

Yeah, today’s wrestling is a bit more polished and obviously not as rowdy as it used to be.

Vandygriff: It’s certainly not as dirty as when you think back to the Von Erichs and all that old school stuff we had in Texas. I don’t know if it was that way everywhere, but it was definitely more like our dirty rock sound.

Have you guys ever actually performed at a wrestling event or had your music used for a wrestler’s theme music or anything like that?

Vandygriff: Not that I know of, but we’ve been all over the country and we’ll have people that come out, like, in Philadelphia one time, these guys came to see us play just because of the name. We have some friends in north Texas that put on those low-rent wrestling shows, but we’ve never done anything with them.

Do any of you guys follow current wrestling at all?

Vandygriff: I don’t, but I don’t have time to follow much of anything other than my Von Ehrics.

Vaden: I used to. I have a friend who used to wrestle at the [Dallas] Sportatorium before they closed it. Kind of by proxy that’s what he and I often talked about and it would be funny because I’d go hang out with him and he’d be like, “I learned this new move. Come here.” He’s much bigger than I am, so he kind of threw me around a little bit. Other than that, I kind of got out of it and I don’t have pay-per-view anymore.

Paul, you’re also in Ghoultown. I always thought that band’s comic book-like gimmick lent itself well to a wrestling environment. Do you still play with that band, too?

Vaden: When Ghoultown plays, I still play with them. But we’re taking a little bit of a break right now and I’m only playing with the Von Ehrics. It’s a lot different; the music’s a lot rowdier and more rock ‘n’ roll.

We did play the Gathering of the Juggalos once. But that was more of a joke. Actually, a guy named Dennis, who is a good friend of the Von Ehrics, I met him in Peoria, Ill. when we played there way back when, before I had even heard of the Von Ehrics. He kind of turned me on to [the Juggalos] and they do a wrestling thing there.

Vandygriff: Dennis, our old road manager, he’s all into wrestling. If he was with us right now, he’d be doing all the talking.

You just released a new album and you’re on tour through June. What do the Von Ehrics have in store after the summer?

Vandygriff: We’re actually on tour through July, we just haven’t announced those dates yet. We’re going out to do the Heavy Rebel Weekender. On the way out to Heavy Rebel we’re going to hit the Milestone in Charlotte, which is a place we’ve played a lot over the years. There are a few other dates around then, then a few weeks off, then we’re going to hit it pretty hard at the end of July to get us into August. After August, we’re going to shut down for August and September for Gabe and Paul to have babies. Then October and November are going to be really busy for us. We’re going to kind of get everywhere we’ve hit in the previous couple of months and then some.

For more information, go to www.vonehrics.com.

Rev Theory continues serving up “Justice” for WWE

By Jonathan Williams

With a hard rock sound somewhere between the party swagger and balladry of Mötley Crüe and the driving post-grunge of Stone Temple Pilots, Rev Theory has established itself as one of the top acts in today’s rock scene. The band has become a touring machine over the past few years, playing upwards of 200 shows a year and sharing the stage with the likes of Buckcherry, Avenged Sevenfold and Lynyrd Skynyrd. Having released its latest album Justice in February, Rev Theory is currently on the HardDrive Live Spring Fling tour with the likes of Saliva, Emphatic, Madam Adam and Seven Day Sonnet (followed by a few dates on the Uranium Tour 2011 with Black Label Society, Hourcast and Anchored).

Photo by Kevin Estrada

Aside from its relentless touring schedule, Rev Theory has also benefited from its tag team-like partnership with WWE, which has not only used Rev Theory songs as official pay-per-view themes on a few occasions, but also enlisted the band to record “Voices,” which has been used at Randy Orton‘s entrance music for the past few years. With WWE choosing the title track from Justice as the official theme song of this Sunday’s Extreme Rules pay-per-view, guitarist Julien Jorgensen takes a moment to talk about the role WWE has played in the band’s success.

Rev Theory has established quite a relationship with WWE, having your music chosen as the official theme song of several pay-per-views and having Randy Orton use your music during his ring entrances. How did this relationship with WWE come about?

Yeah, we’ve had Randy Orton’s theme song for quite some time and I think that’s one of the most popular and celebrated theme songs in a long time. It’s done well for us. Then we did “Light It Up” for WrestleMania XXIV in 2008, and they used “Hell Yeah” for One Night Stand. This time around, for Friday night SmackDown, they licensed “Hangman” as a theme song along with Green Day, so they have two theme songs for that. So, yeah, it seems to be a very fruitful relationship. They just dig the music and we obviously like the exposure, so it works out great.

Our label and management created a relationship over there and Neil Lawi at WWE [vice president of music] has become a great friend of ours and a champion for our band and just took a liking to the music. And their musical director, Jim Johnston, who does all their music and is just a really talented guy, he really dug the band and liked what we were doing. Those two guys really seem to steer the ship as far as musical content for WWE. We went up and met them in Stamford, made a connection and they continue to support our band, and we continue to deliver.

Green Day’s “Know Your Enemy” is used during the opening of SmackDown, so do they use your song for commercials?

They use it for promo spots and throughout the actual show, when they come back from commercials I guess “Hangman” is featured. I guess it goes well with some of the highlight clips they show.

And you guys have also appeared on WWE shows and performed at a couple, right?

Yeah, we just did Monday night Raw. We didn’t perform this time around, but we were in the front row hanging out. We were also at WrestleMania back in 2008 and we also did another Monday night Raw where we did a skit with Jesse and Festus at the time, and they showed the band in the front row. And we’ve done a couple of other things, gone up to Stamford for a couple of interviews and we did a performance of “Voices” for Randy Orton outside at an event in Sacramento.

It seems like your career really took off as a result of WWE’s use of your music. Do you see a lot of crossover between WWE fans and your fans?

Absolutely. Growing up being wrestling fans, and going to the events now, it really is like being at a concert. You’re constantly entertained, there’s a huge light show and it’s like a huge concert with a lot of music, most of it rock based. They tour just like a band and a lot of their shows sell out. We’re seeing all of these fans spill over and they’re just rock fans that dig music and like coming out to shows. WWE fans definitely make up a lot of the fans in our audience.

When you guys write new music now, do you find yourselves writing songs specifically with WWE in mind? Do they ever ask you to write songs specifically for WWE?

We actually never have that in mind, which is the crazy thing. We just don’t think about that and we never have. We just write songs the way we want to write them and it just seems to fit for what they want to do. They dig it, it works and people are digging it. It’s funny, I guess. It’s one of those things where you don’t even try to do something but it just ends up working out a certain way. So we’re going to continue not to try and write music for them so they’ll continue to use it.

With Orton’s entrance music, was that a song you were already working on? Did you specifically want to do his theme music because you guys are fans of his or did WWE ask you to contribute to that song?

They came to us. We had already established a relationship with them and he’s such a big star in WWE that it was a great opportunity for us. Jim Johnston coordinates most of the theme songs, so it was his idea and he came to us. He sent us over a rough demo version of the song and we basically produced a demo version of it and did the vocals for it on the road based on what he wanted. Then Rich [Luzzi] laid the vocals down, we did some background vocals and we sent it back up to him and he did his finishing touches on it. So it was a collaborative thing between WWE and us, initiated by them.

Is there anyone else in particular you’d like to see using your music?

We really dig a lot of the guys. We’ve met a lot of the guys and guys like Triple H have been super cool. We’re actually friends with the Miz and he’s a super nice guy and is a real rock fan. He just got a good new theme song, but he was always complaining that his theme song wasn’t badass enough. They finally gave him one that’s pretty rocking, so he’s pretty happy now.

There’re a couple of guys we’d be happy to work with and do that for. But at the end of the day, Randy Orton is just a badass and he’s a super cool cat. I don’t think we could ask for having a theme song for a better guy.

You mentioned being a wrestling fan growing up. Did that kind of spectacle influence you as a musician and performer?

As far as being a kid, the music didn’t really stick with me other than maybe Hulk Hogan‘s “Real America.” Everybody had their own thing, but it was more about the characters and the show and basically being onstage. A lot of what they do is what performing is all about. A big rock show is not exactly like a WWE performance, but it’s similar: there are big lights, big music and all that stuff. The energy from the crowd is there and you only get one shot to do things. We realized that when we did Monday night Raw and the Rock came back after being retired for seven years. This guy gave a 20-minute sermon and it gave you chills. He was on point, he had his thing down and it was like he was performing a song up there. It was off the cuff, yet somewhat rehearsed, and he was performing, had one chance to do it and that type of feeling is similar to being onstage with a band.

For more information, go to www.revtheory.com.