Tag Archive: “Featured”

Another week rolls by and life’s got me feeling overworked, underpaid and less than appreciated. It doesn’t really vary from any other week I guess. Walking and driving in zombie-like states would probably have people glaring at me if they knew I was always tired. I haven’t been able to upload new music on my iPod so I’m stuck listening to the same regurgitated music I’ve been listening to. That’s usually until I get my ass to a computer. But there lies the rub. As soon as I get to a computer I gravitate towards varying podcasts even my friends don’t listen to. Damn the internet for making everything available to me worldwide! Regardless, I’m feeling… eclecticism coming on. Losing myself in multiple genres of music is what I’ve been doing this week. Sometimes I’ll get too comfortable with just one genre of music.  And so this Friday’s Roll Out begins…

Thirstin Square Crop
Thirstin Howl The 3rd

I’m pretty sure that Thirstin Howl The 3rd’s name is recognizable here. Now if you don’t know and are one of the uninitiated, sit down and we’ll break it all down for you. Victor DeJesus, better known by his stage name Thirstin Howl The 3rd has cut his teeth in underground Hip Hop circles closing in on two decades now. He’s toured the world, shared stages with those well and lesser known, and has released 11 albums, not including his new Skillmatic (Skillionaire Enterprises). The cover art seemingly parodies Nas’ groundbreaking Illmatic, but there’s a method to Howl’s madness. It’s not a true parody in art but possibly a nod to the greatness one album was, and how another may be viewed as well. Now it all depends on perspective though. In 2017 one might have a number of adjectives that an artist wouldn’t want to be associated with like misogynistic, self-gratuitous, etc. But I’m pretty sure Thirstin Howl The 3rd gives no fucks about it. Truth be told, Skillmatic is a throwback to a time when artists wrote lyrics right off the top of the head and performed on tracks that brought the true boom-bap. No shortcuts taken, just um, skill!

But Nas isn’t the only artist Howl gives a nod to because with the opener “Public Enemy” he and Master Fuol create their own rhythm and rebel against a system that’s unjust and corrosive. The feel of the track booms with relentless beat while Howl spits and shouts, showcasing his lyrical dexterity in both English and Spanish. He’s rallying against the system as P.E. did but with a finality. Fuol plays the Flava to his Chuck D. and the tag team is as effortless as it is looks and sounds. Skillmatic is rife with guest appearances though; Master Fuol continues with the assist but you also have Onyx’ Sticky Fingaz on “Crime Lord” where Howl, Fuol and Sticky bludgeon things with deliveries as strong as baseball bats and Timbs cracking down on heads. But it’s “Olde Gold Cypher” where you get an idea of what Thirstin Howl can accomplish with just a hypnotic beat and his voice alone. You can imagine blunts passed back and forth during studio sessions, blessing the track with a weed-induced clarity. If listeners are looking for something politically correct, they may want to skip “Wake Up In The Morning” which once again features Master Fuol but also includes Dre Brown.  It’s that true old school having these three spitting lyrics about beautiful women and what they can do. To them. The flow is just bananas and while their lyrics are rated X or NC-17, it just works.  It unexpectedly creeps into the title track where you find Mobb Deep’s Prodigy alongside Howl, both rapping about guns, and keeping things real. Over a mid-tempo’d beat wallowing in urban blight, we all know where this one goes. Both Howl and Prodigy are “Skillmatic” as they “turn this flow into dough.” Thirstin’ Howl The 3rd is no doubt internationally known, even featuring Japan’s Dak Lo on “Japan Style” where Howl shows love to Dak Lo, part of the extended Lo Life crew. The two volley back and forth and while Dak Lo raps in Japanese and my translation skills are nil, it still works. I can’t help but think how grimy this album sounds after listening to “Barberic Merits” because as I mentioned before, no fucks are given. Even with the sweet supporting vocals on the closing “I Will Always Be Right Here” there’s no removing that imagery of gritty urban life.  The Brownsville, Brooklyn rapper’s Skillmatic is something you won’t be able to help listening to over and over again. That is, if you’re strong enough and willing.

Now I’m sure you’re probably wondering, ‘What the hell is a Lizard McGee?’ Well, Lizard is the lead singer of the Columbus, Ohio band Earwig.   It’s hard to believe that the band has been going strong for 25 years in one form or another but here, Lizard McGee strips things down for a half hour of acoustic tracks in the form of Spooky Jets At A Distance (LFM/Anyway Records). One cannot simply mention Lizard without bringing up his band with this release. The majority of songs comprised here are reworked versions of Earwig’s 2016 release Pause For The Jets, which I didn’t realize until recently (It made sense why the songs sounded so familiar.) The fortitude of a song is measured in its acoustic counterpart, which for the most part, works here, and at moments sound better than versions with the full band. “Lover Chords” does that. It’s the nuance in every note and chord played that plays to Lizard’s vocal strengths. If you listen to it, that’s the point there. The counter parts are driving rock songs while here you get the laid back quieter versions. But the haunting “Bring Yrself 2 Me” works in either format but here, it’s just…spooky. I’m not certain if it’s the empty space that has me thinking that or just the way Lizard draws out the song. Repetitive but far from being repetitious. While “Wasted On You” doesn’t have Lydia Loveless’ additional vocals here doesn’t matter because the song can stand alone without her or a band. “Silverheels” though, the song stands apart from the original, without any added tricks, is a strong number. You can’t help but enjoy it. Spooky Jets At A Distance is clever counterpart to Pause For The Jets and bookshelf’s it perfectly.

Spooky Jets Cover
Lizard McGee

Now s this a Friday Roll Out…or is it just someone’s best kept secret? Aye Nako‘s new album Silver Haze quietly dropped in April. While there were sources that reviewed and/or premiered tracks, there hasn’t been very many mentions of the album or videos debuting. The nagging question I have is “Why?” Because I haven’t heard such sheer abandon to rock out and write great punk/pop songs in such a long time. I obviously should have ended this with that last sentence but continue reading if you’d like. A self-proclaimed queer punk band, Aye Nako spends its time writing melodic punk music in Brooklyn, NY.  and while Silver Haze isn’t the group’s first album, it sure sounds like it has that unrelenting fervor of a band just starting to hit their groove. Aye Nako classifies itself as a “queer punk band comprised of 4 weirdos writing dissonant and melodic punk music” but I only hear one amazing band that’s created its own niche on the punk continuum. The band does volley back and forth from male and female vocals and I’m usually quick to point out influences but with Aye Nako, it’s not that I can’t but rather, I just don’t want to. There’s a child-like innocence to the band when listening to “Half Dome.” You can’t help but feel a quick connection to their music. The sultry sounds of “Nightcrawler” has the band punctuating its music with elements that makes it sound more mature, way beyond their years. Not making sense? Imagine the band taking pop music lessons from other bands but then deciding they’re doing things their own way. That’s the attitude the band captures. They’re both sweet and sour, usually at the same time and songs like “Muck,” “Particle Mace” and “Spare Me” capture that feeling. Do I like this band? Nope, not at all. I love Aye Nako’s music. Silver Haze is one amazing piece of work these 4 weirdos have created.

Aye Nako
Aye Nako

PREVIOUS RELEASES:

 

Thirstin Howl The 3rd: Facebook // Twitter // Instagram
Lizard McGee: Facebook // Twitter // Instagram
Aye Nako: Facebook // Twitter // Instagram

 

 

 

 

Based in the musical mecca of Nashville, TN, The Nearly Deads emit polished grit, mixing the powerful pop vocals of singer Theresa Jeane with the aggressive grunge-inspired instrumentals of Steve Tobi, Javier Garza, Josh Perrone, and Kevin Koelsch. the band has managed to create a truly unique genre that not only gives a nod to gritty grunge, but brings it back in a way never heard before.

From studio to stage to the written page, The Nearly Deads continue to forge a new path dotted by passion, charisma, talent, hard work, and messages of positivity and empowerment. The band’s genuine nature and generosity towards their supporters has fueled the ascension of their “Zombie Nation” of fandom.

Crowned victors in the John Lennon Songwriting Contest and a Converse Battle of the Bands competition, the band tours incessantly, with slots at prestigious festivals such as Vans Warped Tour, Summerfest, PrideFest and Journeys Backyard BBQ matched by shows with Halestorm, All-American Rejects, and a 2015 run on the Black Widow Tour with In This Moment, Butcher Babies, and Upon A Burning Body. This constant stream of success and activity has led to airplay on MTVu, MTV Hits, FUSE, BlankTV, Verizon FiOS and Vevo; features in Absolute Punk, Alt Press, ARTISTdirect, Outburn, PureVolume, Revolver, Rock Confidential and Substream and a #14 spot on Billboard’s Next Big Sound Chart.

Ghettoblaster recently caught up with The Nearly Deads’ drummer Josh Perrone to discuss their new EP, Revenge of The Nearly Deads, their fans and their own pop culture fandom, and the band’s evolution.

This may have been mentioned to you before, but you bear some similarities to another TN band. Have you guys met Paramore, and if so, what was that exchange like?

We actually have never met them, but we have gotten feedback on the similarities we share, and we’re honored when people tell us that. Would love to meet them though!

How was the band’s sound evolved since Invisible Tonight?

We wanted to take a heavier approach with our sound after the Invisible Tonight album.

Actually going back to our roots and The Nearly Deads’ first EP. Invisible Tonight was very pop and punk driven, and with the Revenge of The Nearly Deads EP we beefed things up.

You guys have won both the John Lennon Songwriting Contest and Converse Battle of the Bands competition. What did those experiences do for the band?

They did great things for the band, with the John Lennon Songwriting Contest we got select dates on Warped Tour, which is such a milestone for any band and is great exposure. The Converse Battle of the Bands gave the band one of its first opportunities to perform in front of a bigger festival crowd. Unfortunately I wasn’t in the band yet for those moments, but it definitely paved the way to more opportunities that I have got to be a part of.

When did you start writing for the EP and what inspired that output? What were you hoping to accomplish with it? 

I’ve been writing ideas and parts for the past year. We had a lot of cool ideas and songs, and I specifically remember the first time the band really sat down and hashed things out was when we had a few days off on the Black Widow Tour. We were staying at Javier’s parent’s ranch and jamming the songs in a barn. It was so rad. We were all inspired to be heavier and just have a real rock vibe, personally I was really inspired by Muse, I was into those driving four on the floor beats in their songs. We really wanted to accomplish that heavier rock sound and I think we did just that.

What are your proudest moments on the record?

For me my proudest moment is the song “Frequencies.” I’m proud of all the songs and things I got to do in each of them, but that song to me is just so cool and haunting. Specifically the beat I do in the second half of the second verse, which was actually Steve’s idea. He mouthed out the beat to me in the studio, poorly, but I got what he was saying and laid it down on the kit.

Is “My Evil Ways” about dealing with vices or just a Peter Pan story about not wanting to grow up?

Honestly it’s hard for me to give the 100 percent true answer because TJ wrote the lyrics, but I’d say it’s a little of both. I mean no one really wants to grow up and age is just a number. There’s also the other aspect of it where maybe you should grow up. Maybe you need to be more responsible and better yourself to have a better life.

Are you proud of how your fans have organized, aka Zombie Nation?

We are so unbelievably proud! We have the best fans in the world and it’s so awesome to us that they took an idea we had and ran with it. It means the world to us, Zombie Nation for life!

Are you all fans of zombies? If so, have you read the trillogy Rhianon Frater wrote. It has a super strong female protagonist.

Yes we are! We are all super into horror and zombies is at the top of the list for all of us. I have never read that trilogy, and I can’t recall any other member reading it either, but I definitely want to now! It’d be a great thing for the road.

Are you guys pop culture junkies or nerds? If so, what is your guiltiest pleasure? What is the best guilty pleasure of one of your bandmates?

We are! Steve and I are consumed by pop culture and are the biggest nerds. We joke though because Steve is more of a “video game” nerd and I’m a “superhero” nerd. He knows everything about the latest games and I research everything Marvel, DC, etc. I am the Batman… We are all movie nerds, we love them and most of our conversations are just movie quotes back and forth to each other.

As far as guilty pleasures go I guess I’d say mine is I love to listen to like Katy Perry and basically all the top 40 pop hits on the radio. For one of my bandmate’s guilty pleasures I’ll give it to TJ, she loves reality TV shows, specifically Real Housewives of Atlanta.

What are your favorite accomplishments with the band so far? What are your loftiest future goals for the band? 

My favorite accomplishment with the band so far is definitely the new EP. It’s the first studio recordings I’ve got to be a part of with the band, aside from the Ellie Goulding cover we did, those were my drums on that. But as far as original music the Revenge of The Nearly Deads EP is my first. My goal for the band is just to keep making music and touring and seeing all our fans at each show. Of course getting rich and famous wouldn’t be bad either. But, I think I can speak for everyone when I say we just love what we do and making this a long lasting career is our goal.

(Visit The Nearly Deads here: http://www.thenearlydeads.com/#about.)

Befitting their handle, Dead Posey is fascinated by what lies beyond, their music exploring the nature of mortality through both waking life and dreams. But while the Los Angeles duo’s lyrics lean toward the metaphysical, its debut EP, Freak Show, is a raucous, fuzz-loaded collection of back-to-basics rock ‘n’ roll. Singer Danielle Souza’s inspired vocals blend seamlessly with guitarist Kyle Foster’s muddy, blown-out riffs in this vibrant, boot-stomping five-song collection.

The band spent most of 2016 working on Freak Show and credits producer/co-writer ALLIES (Tony Fagenson of Eve 6) with helping guide their vision and develop their sound. The EP was created almost entirely in the studio, starting from Souza and Foster’s bare-bones vocals-and-guitar demos. From the anthemic “Don’t Stop the Devil” to the soulful swamp rock of “Boogeyman,” Dead Posey will leave you eager to let your freak flag fly.

Today, Ghettoblaster has the pleasure of offering of the EP’s title track, which you can enjoy below:

(Visit Dead Posey at:

https://www.facebook.com/deadposey

https://twitter.com/dead_posey

https://www.youtube.com/channel/UCcxMd8kqdXXmfIjdRLgoB3w

https://www.instagram.com/deadposey/

https://m.soundcloud.com/deadposey)

Photo by Clark Wegner

Foxholes, named for a track off Television’s second album, formed in late August of 2012 through a mixture of pre-existing friendships and well-timed Craigslist ads. The Des Moines, Iowa, five-piece, set to release their self-titled sophomore full-length on May 26, specializes in straight-forward lyrical honesty and a blend of garage-rock and post-punk that pulls in influences like The Replacements, Dinosaur Jr., The Strokes and Iggy Pop.

With a seemingly infinite array of guitars and effects pedals buoying a candidly deadpan vocal delivery, Trevor Holt, Jessica Villegas, Ben Barndollar, Kyle Folvag and Craig Bowers have made an album that captures the feeling of being in your mid-twenties in the middle of the United States of America, stuck putting in time at a temp job with no future and struggling to care.

Following the band’s debut full-length, Can’t Help Myself, their sophomore release delivers more hooks and the tracks are more expansive, owing to an additional guitar player as well as the result of giving themselves more time in the studio and coaxing contributions from all of the band members. As Holt explains, “We added another member, but the songwriting is also getting more collaborative. ‘Different Kind of Animal’ is song that Kyle brought in, Craig wrote ‘Ludes’ and ‘34’ was built of a bass riff Jessica had that Ben locked into.”

Today, Ghettoblaster is pleased to offer a listen to the album, which you can enjoy below:

(Visit Foxholes here: http://www.foxholesmusic.com.)

Chicago’s Skylines is getting ready for the summer with their latest “Unfold,” which Ghettoblaster has the pleasure of sharing today. The song was produced by Joe Scaletta at Word of Mouth Studios. The band will be performing tonight at Evolution Music in Chicago, IL, to help kick off the “Hot Mulligan and Belmont” tour.

Stream the single below:

(Visit Skylines at:

Facebook: https://www.facebook.com/Skylinesil2

Twitter: https://twitter.com/Skylines_IL

Merch: https://www.victorymerch.com/store/skylines)

The One Where Everything is Enjoyable

On this episode: our dear cousins talk about American Idol and Katy Perry, they get into God Talk early and keep talking about their history with religious institutions,

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne bring you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One Where Everything is Enjoyable

Sir the Baptist feat. Killer Mike and ChurchPpl – Raise Hell from ____ out ___ on Atlantic

Lo Tom – Overboard from Lo Tom out July 14th on Barsuk

Jamilla Woods – Holy from HEAVN out now on Soundcloud with a proper release soon from Jagjaguwar

Broken Social Scene – Hug of Thunder from Hug of Thunder out July 7th on Arts & Crafts

(Sandy) Alex G – Bobby from Rocket out this Friday, May 19th on Domino

Danny Brown – Kool Aid from Silicon Valley: The Soundtrack out June 23rd on Mass Appeal Records

The Drums – Blood Under my Belt from “Abysmal Thoughts” out June 16th on Anti-

Lost Balloons – Numb from Hey Summer out June 16th on Dirtnap

Great Woods is the band that lives inside of Eric Ryrie’s head. Ryrie lives in Brooklyn. His songs are built on strong melodies and intricate arrangements that are executed with a seasoned precision, honed by years of live performance and dedication to his craft. Strange Lives, due out June 23, is the first release from Great Woods. It was written, recorded, mixed and performed by Ryrie.

Today, Ghettoblaster has the pleasure of premiering the EP’s lead single, “Strange Times in the City.” This is what Ryrie had to say about it:

“I wrote this song not long after moving to Brooklyn from Boston, where I’m from. The words come from my feelings and discomfort with my new surroundings filtered through a partially fictional character and relationship. Sort of a reality once removed.”

(Visit Great Woods here: https://www.facebook.com/greatwoods/.)

GAME OF TRAINS (Brain Games)

As a fan of the very simple yet very fun classic family game, Racko, Game of Trains immediately appealed to me. If you haven’t played Racko, let me explain it in two sentences.  In Racko you’re dealt 10 cards from a shuffled deck of cards numbered from 1 to 60. Lining those cards up in the order in which they were dealt to you, the goal is then to draw and replace a card each turn as you try to be the first to have your cards in order from low to high.

In Game of Trains the goal is the same, but with a few tidied up rules and a few new ones to introduce additional strategy and fuller gameplay. Starting with seven cards, players order them not in dealt order but in reverse numerical order (limiting the benefit of a lucky deal). After everyone’s train is lined up, players draw as many cards as their place in the turn order (one for first, two for second, etc) and replace one card in their train with one of the drawn cards. For everyone but the first player, the additional drawn cards will be discarded face up, making for the starting actions draw pile. With an action on every card, players now have the choice on their turn if they want to draw from the draw pile face down to replace a card in their train (which is then discarded to the action pile) or if they’d like to draw a face up card to play as an action. These action cards allow players to swap or move cards in their own line, discard cards from their’s and other’s lines, or lock in and protect a card in their train.

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Having additional rules doesn’t always improve games. I remember being disappointed by Tsuro of the Seass additions, feeling that the original version’s simple gameplay had been cluttered with a thematically fun, but frustratingly random new set of rules. Thankfully that’s not the case for Game of Trains as the new rules it introduces build on Racko‘s simplicity with new ways to hem and haw over what to do with your turn. Also the art is really rad. (Brain Games) by David C. Obenour

Photo by Karen Asher

Winnipeg-based industrial synthpop duo, Ghost Twin premiere their new video for “Plastic Heart,” which features a goth gym replete cult-like imagery, black attire, and Merlot, via Ghettoblaster today. “Plastic Heart” is the second single and title track from Ghost Twin’s upcoming debut LP out May 19. The album was produced by Maya Postepski (Princess Century, Austra, TR/ST) and was engineered and co-produced by Michael Falk, who will release it via his label, Head In The Sand (Canada). Artoffact Records and Storming the Base will release the record to the rest of the world. Pre-orders are available at https://ghosttwin.bandcamp.com.

The band is comprised husband-wife duo of Jaimz and Karen Asmundson, who first collaborated together on a short film called Goths! On the Bus! that screened at Cannes, among other international film fests. This gave them the idea for Ghost Twin, an industrial project with both percussion and imagery drawn from film samples. Karen and Jaimz offer a compelling and provocative dynamic that translates both in their music and the visual elements they seamlessly weave into their live performances. Since the release of their EP, Here We Are In The Night, Ghost Twin have performed at major festivals such as Pop! Montreal, Terminus, NXNE, and Breakout West.

They’ve also released a stunning new lyric video for Plastic Heart’s first single “Saturn Swallows the Sun” (watch) ahead of their Canadian tour in support of the new record.

(Visit Ghost Twin here:

http://www.ghosttwin.com

https://instagram.com/ghosttwin

http://www.facebook.com/ghosttwinmusic

http://www.twitter.com/ghosttwinmusic)

A line stretching around the block resulted in the Canopy Club being packed elbows to assholes for the Urbana, Illinois, stop of the Beach Slang/Jimmy Eat World tour. While fans waited for the doors to open, Jimmy Eat World’s soundman, who also happens to be Dennis Jagard of California melodic punk band Ten Foot Pole, walked the line playing requests from his band’s back catalog as well as cuts from an album that drops later this year. When the doors finally opened, the club blasted a peculiar mix of ‘90s radio top 40s chart toppers, like Taylor Dayne’s “Tell It To My Heart,” leading to some head scratching as people collected their drinks and made their way to the balcony and club floor.

Philadelphia, Pennsylvania Replacements worshipping, road warrioring punk quartet Beach Slang opened the evening with a set that combined material from their earliest 7” EPs output for Dead Broke Records, as well their two full-length studio albums, The Things We Do to Find People Who Feel Like Us (2015) and A Loud Bash of Teenage Feelings (2016), for Polyvinyl. As an aside, The Canopy Club is in the heart of Polyvinyl country, which Alex mentioned from the stage saying that “the label” was present at the show, which I presume added a level of pressure for the band, which is also touring with two relatively new additions, former Mean Creek guitarist Aurore Oungian and former Afghan Whigs and Cursive drummer Cully Symington.

Despite the new additions, the quartet was tight and flawless as they banged out fan favorites “Ride The Wild Haze,” “Hard Luck Kid,” and “Dirty Cigarettes.” Alex did pause the set several times to inject stage banter and levity. For instance, at least a few times Oungian started playing the lead line from Carlos Santana’s “Smooth,” stopping just short of launching into the song, which elicited chuckles from the crowd. Additionally, in the interest of softening up Jimmy Eat World devotees unfamiliar with the band, Beach Slang teased covers of Lit’s “My Own Worst Enemy” and Red Hot Chili Peppers’ “Give It Away,” before settling in on full covers of Oasis’ “Wonderwall” and Pixies’ “Where Is My Mind.”

Alex also spent part of the set reading a list of famous musicians and actors that fans had told him he looks like. For those not in the know, the frontman is known for his stage wardrobe and on this tour it consists of a blazer with a larger heart patch on the chest, a bowtie and his signature maroon pants. The list, which covered a couple of dozen names included, Angus Young, a young Christopher Walken, and Bilbo Baggins. With laughter ringing in the crowd and arms becoming uncrossed the band concluded the set with a particularly charged up, fiery version of “Atomic Bomb.”

Flanked by a pair of stage prop streetlights Jimmy Eat World, and comprised of the same core membership for almost 30 years, the band made their way to the stage to vigorous applause and spent around next two hours covering the staples of their considerable back catalog. The majority of the rapt crowd hung on every riff and word, thrusting fists into the air and singing along at the top of the lungs.

There isn’t much that can be said about the Arizona band that hasn’t been said a million times before; the band’s success has been the result of relatable lyrics, strong song-writing, and catchy hooks for several decades now and they don’t seem to be losing steam as their latest, Integrity Blues (RCA Records, 2016),  contains some of the best songs from their considerable cannon. The band tours launches a shed tour with Incubus almost immediately following this tour and fans are sure to be equally delighted for the opportunity to see them on that run of dates.

Here is the setlist:

You With Me
Bleed American
I Will Steal You Back
Lucky Denver Mint
Get Right
Hear You Me
If You Don’t Don’t
Big Casino
Pass the Baby
Just Tonight…
Blister
It Matters
For Me This Is Heaven
Always Be
You Are Free
A Praise Chorus
The Authority Song
Let It Happen
23
Work
Pain
Encore:
The Middle
Sure and Certain
Sweetness

Beach Slang:

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

Jimmy Eat World:

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Words By Tim Anderl, Photos by Jeremy Ward