GWAR:9/15: Knoxville, TN @ The International9/16: Middletown, OH @ Land of Illusion9/17: Chicago, IL @ Riot Fest
GWAR W/Ghoul, Doyle and U.S. Bastards:10/20: Richmond, VA @ The National10/21: Cleveland, OH @ Agora Ballroom10/22: Toronto, ON @ Opera House* (No Doyle)10/23: Millvale, PA @ Mr. Smalls10/25: Greensboro, NC @ Arizona Petes10/26: Baltimore, MD @ Rams Head Live10/27: New Haven, CT @ Toad's Place10/28: Worcester, MA @ Palladium10/29: Philadelphia, PA @ Trocadero10/31: New York, NY @ Irving Plaza11/1: Buffalo, NY @ Town Ballroom11/2: Louisville, KY @ Mercury Ballroom* (Stonecutters Open)11/3: St. Louis, MO @ Pop's11/4: Sioux City, IA @ Hard Rock11/5: Lawrence, KS @ Granada
GWAR W/Ghoul, He Is Legend and U.S. Bastards11/7: Minneapolis, MN @ First Avenue11/8: Winnipeg, MB @ Pyramid11/9: Saskatoon, SK @ Saskatoon Events Center11/10: Edmonton, AB @ Union Hall11/11: Calgary, AB @ The Palaces11/13: Vancouver, BC @ Commodore11/14: Portland, OR @ Roseland11/15: Seattle, WA @ Showbox SoDo11/17: Santa Cruz, CA @ The Catalyst11/18: Las Vegas, NV @ Fremont Country Club11/19: Sacramento, CA @ Ace of Spades11/21: San Diego, CA @ House of Blues11/22: Los Angeles, CA @ Fonda Theater11/23: Tempe, AZ @ Marquee Theater11/24: Albuquerque, NM @ Sunshine Theater11/25: Denver, CO @ Summit Music Hall11/26: Lincoln, NE @ Bourbon Theatre11/28: Tulsa, OK @ Cain's Ballroom11/29: Dallas, TX @ Gas Monkey Live11/30: Houston, TX @ House of Blues12/1: San Antonio, TX @ Aztec Theater12/2: Baton Rouge, LA @ Varsity Theater12/3: Atlanta, GA @ Masquerade12/5: Ft. Lauderdale, FL @ Revolution12/6: Tampa, FL @ The Ritz12/8: Indianapolis, IN @ The Vogue12/9: Peoria, IL @ Limelight12/10: Detroit, MI @ St. Andrews Hall

AUSTRALIAN TOUR DATES: Friday September 15 – Weekender Fest, Melbourne Tuesday September 19 – The Basement, CanberraWednesday September 20 – Uni Bar, WollongongFriday September 22 – Red Rattler, SydneySaturday September 23 – The Zoo, BrisbaneSunday September 24 – The Zoo, Brisbane
​with Thin Lips and katie ellen:November 3 - Philadelphia, PA - Johnny Brenda’sNovember 4 - Brooklyn, NY - Knitting FactoryNovember 5 - Boston, MA - Middle East Upstairs
SURVIVAL POP TRACK LISTING01. My 85th Rodeo02. Not Your Type03. The Possibility04. Gaslighter05. What We're Up Against06. Future Me07. Self Esteemed08. No Thanks09. Glutton (Reprise)10. WTF Is Sleep11. Best Fear _ Worst Fantasy12. Open Heart

MARKY RAMONE AUSTRALIAN TOUR
Wednesday 22 November - The Triffid, Brisbane 
Thursday 23rd November - Manning Bar, Sydney
Friday 24th November - The Croxton, Melbourne 
Saturday 25th November - The Pier Hotel, Frankston
Sunday 26th November - The Gov, Adelaide
Tuesday 28th November - Badlands, Perth
Thursday 30th November - San Fran, Wellington
Friday 1st December - The Studio, Auckland
Saturday 2nd December- The Foundry, Christchurch

Fluffy (The Ejector Seats/The By-Products – bass/vocals)
SPB: How has the increasing digitalization of music changed how you listen to or consume music?
Fluffy: Well...this is a sensitive subject for me!
Mostly...I hate the digitization of music! I'm not a "purist" or anything...I just love records and the whole process/religious experience of listening to them. Don't get me wrong, I think the technology is incredible: recording band practices on your phone and emailing them to everyone before they even get home from practice is great; being able to pop your stuff up online and instantly be connected to the 4 corners of the planet is a game changer and a time saver...But as far as listening, I like my records and the whole selection process! Yes...a strange ritual to most...understandable to some.
Portability?!?? you ask...Well, I'm fine with CDs. CDs are pretty great in comparison to tapes! Although tapes definitely helped humanity to take their tunes on the road in the ancient past, I personally have lost sssssssssooooooooooooo much good music from my tapes being eaten, that the simple sight of a cassette makes my blood pressure rise!
So, to simply answer your question, the way digitzation has most changed how I consume music, is that I will go to a band's site, listen to a couple of tracks, and if I dig them, I'll buy the vinyl!
Bruce Lamont (Brain Tentacles)
SPB: You have a dense and complex sound, heavily featuring jazz influences and an extreme metal basis. Since you are all heavily involved in the more experimental edge of the heavy spectrum, what do you feel like is the next step for the sound of Brain Tentacles?
Bruce: 2017 is the year that we are gonna go for broke. Taking more risks, more chances. We have nothing to lose.
How bout you? 
Amirtha Kidambi
SPB: Your new album features a fair deal of spiritual themes, for instance the themes of creation, destruction, rebirth and repetition. Do you feel that themes from your own background, such as Hinduism, bring a more personal and unique tone to your concepts, and act as an aid in the construction of your music?Amirtha Kidambi: Absolutely. The entire construction of the Holy Science suite is based around the ideas contained within Hindu scripture regarding time cycles. The suite follows these time cycles by name starting with first era of "creation" or the Sathya-Yuga followed by the Treta-Yuga, Dvapara-Yuga and finally the current era of chaos and destruction, the Kali-Yuga. The conception of time as cycles of birth, death and rebirth is a central idea in Hindu philosophy. I grew up Tamil Brahmin and it had a huge impact on me for better or worse. Hinduism as it is practiced today here in the US and in India, is a fairly conservative ideology even though the philosophy is actually incredibly radical and open. I was and still am negotiating that dichotomy and pushed back against the more conservative aspects as I was growing up. At the same time, the spiritual and philosophical ideas largely shape how I view the world and inevitably influence my thinking when it comes to music and creativity, especially improvisation. In Hinduism we have this idea of ego-destruction as a path to truth and I find improvising is one of the few activities where I've felt like I can get close to this idea of transcendence. These Hindu ideas also had a profound impact on artists including John and Alice Coltrane, who are some of my biggest musical influences, so it sort of comes full circle for me. I think the influence of these ideas in my music is not unique in that the influence exists, rather the filter that these ideas flow through. My own identity, personality, musical background and other musical influences transform these ideas into something I think is unique and to be honest pretty weird!

 
V.E.G.A.S. frontman T contributes a column to SPB titled era vulgaris.

FLOGGING MOLLY TOUR DATES:
10/13 - Riverside, CA @ Riverside Municipal Auditorium10/16 - Eugene, OR @ McDonald Theatre10/18 - Billings, MT @ Pub Station10/19 - Missoula, MT @ The Wilma10/20 - Calgary, AB @ Palace10/21 - Edmonton, AB @ Union Hall10/23 - Fargo, ND @ The Sanctuary10/24 - Sioux Falls, SD @ The District10/26 - Indianapolis, IN @ Vogue10/27 - Madison, WI @ The Orpheum Theater10/28 - Peoria, IL @ Limelight Eventplex10/30 - Cincinnati, OH @ Bogart's10/31 - Niagara Falls, NY @ Rapids Theatre11/2 - Seyreville, NJ @ Starland Ballroom11/3 - Philadelphia, PA @ Electric Factory11/4 - Clifton Park, NY @ Upstate Concert Hall11/5 - Worcester, MA @ The Palladium

Tim Martinkøvixxx (Fast Break! Records – label manager)
SPB: What is the best pop song of the last 10 years?
Tim: I'm going to cite a track that I found wholly by accident but not, not entirely by design.. Independent music is where my heart lies, so an argument can be made for many tracks form many labels / artists / genres but I'm going to throw a pair of loaded dice and call your decade card at the X. 
Artist: DANGER O's
Album: Little Machines © 2007
Track: Wolf In Sheeps Clothing
https://thedangeros.bandcamp.com/album/little-machines
This track is the epitome of indie power pop, with a simple melodic guitar and bass driven open soaked in electric icing, all marching with a beat that drives us to a cliff where intertwined vocal melodies carry us as we fall through the sky into an chorus that drowns us in cascading and refracting neon light. It's a fun ride from beginning to end, and a brilliant execution of everything pop. 
Bobby Kapp
You (and Matthew Shipp) come from two different eras of the NY free jazz scene. What did you discover in your recording sessions, about either the past and the present of the scene?
Although there is twenty years between us and each era is different, there are very similar aspects. One is the level of commitment which was life or death back then and is the same now in Matthew. I feel two is that the need to adjust the system of the ‘60s was urgent. Personal freedom was on the line and young people were " dropping out," no matter what the risk, to express themselves and protest oppression of any kind. This is beginning to happen again now because of "45" etc, and as a result, conventional art (which can be beautiful and valid) is still too limited for these new urgent times.
Third, I could find the sound of the people I played with in the sixties in my drums! With the people I've recorded with lately, some are Ivo Perleman, Ras Moshe, Tyler Mitchell, and especially Matthew Shipp. I get their core sound deep in my drums...This is powerful, spiritual, vibrational therapy heading out into the planet. It seems to fill  me with new restorative life energy: practical immortality, if you will.
Jason Navarro  (Hellmouth, Suicide Machines)
SPB: You’ve released a trilogy of records. How has your original vision changed over the years it took for the releases to come to fruition?
Jason: Well, I never thought the trilogy would end on a more positive note. Which partially through the record it became personal and became a positive change in the way I look at myself and the world. Granted we do always tie in oroborus with most of our concept of the trilogy -- as applied every new beginning has to have and the final ending -- I just didn't know that we would see what the change should become with the third installment., I just figured it would be a complete negative end but, in all actuality, it became a positive thing.
The album cover which our sun dwarfing in becoming a black hole which will be the final say in the end of mankind because even after an apocalypse or war to end all wars man would more than like be doomed to repeat its mistakes. And do I repeat my mistakes myself personally, which is more what this album’s oblivion was about. This band and music has calmed me to the point I don’t need it anymore.
New beginnings.