BWD Magazine - September 2014

MELODICALLY DRIVEN

EMOTIONALLY EXPLOSIVE

CHISELED

GOOD LOOKS AND

HERCULEAN PHYSIQUE

JESSEJAMES

END OF SEPTEMBER

JESSEJAMES

END OF SEPTEMBER

JESSEJAMES

SEPTEMBER 2014 Vol 19#1 Variety Magazine - A Worldwide Puclication

OVER A DECADES WORTH OF EXPERIENCE AND KNOWLEDGE

2 • BWD Magazine • www.bwdmagazine.com

FEATURES

04 Voidance RecordsLike-minded Missionaries In Music

06 Adam CohenWe Go Home - Album Release

10 End Of SeptemberMelodically Driven And Emotionally Explosive Group

16 Sunken Monkey Where Punk Is In Good Hands

18 HelixCanada’s Very Own Rock Royalty; Legends Never Die

COVER STORY

12 Jesse JamesChiseled Good Looks And Herculean Physique

LIFESTYLE

08 Put It On My TabSocial Side Of Interesting Apps

14 5 Tips For Getting NoticedNo Longer Relying On A&R Scouts

ENTERTAINMENT

7 Buffalo Bites (Monthly Feature) Over 20 Years’ Experience In The Creative

Audio And Music Production World

20 BWD Radio & Ms. V BWD’s Ears And Eyes Of A Worldwide Audience

To Ms V Becoming Well-Known As The Go-To Girl

BWD Magazine • www.bwdmagazine.com • 3

Editor In Chief V Keach

Associate Editor

J Addams

Lead Contributing WriterJ Addams

Contributing WriterV Keach

Art DirectorV Keach

Graphic Artist(s)V Keach, BWD Graphics

Circulation/Sales Officer(s)V Keach/J Addams

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TWITTER.COM/BWDPROMOTIONS

LAST ISSUEIn a world where a swipe across the virtual shelf has supplanted the

casual stroll down the aisle, content driven media has become the golden

chalice of promotion; fresh content delivered with the minimum of fuss

constantly throughout the day has become the key to ensnaring the public

interest, of reaching the plateau of fame and recognition you deserve to

be standing upon.

Without an audience to listen no-one can hear you talk. Without a pair of

eyes to observe no-one notices when you achieve greatness and without

a market waiting on pins to learn which direction their latest fascination

will be coming from no-one will be holding the banners of congratula-

tions when you finally step up to the limelight.

With an empire of insiders working tirelessly away to bring you the big-

gest, best, and breaking news across the entire landscape of the media

BWD Magazine has built a reputation as being one of the leading names

in the industry.

When we speak, others listen.

With a worldwide audience of subscribers downloading and learning

which name to look out for, which band they should be following, who the

next Big Thing is going to be, BWD Magazine speaks to millions of awaiting

ears each and every month.

With the world as an audience BWD Magazine puts you firmly in the

spotlight.

BWD Magazine- ‘Leading Whilst Others Follow’

FROM THE EDITOR


Change, they say, is as good as a

rest. Having seen the change

from original artistic endeavors

encapsulating the imaginations

of ground-breaking and genre

defining artists let loose upon the ears of a

global audience in awe of a new musical land-

scape to frolic within and throughout to the

cookie cutter clap-trap and kitsch of reality sing-

song shows and similar, it’s a tired line we here

at BWD Magazine draw out each time yet another

Gravy Train jumping act turns up on our playlist

and bothers our sensibilities.

So it is with no small pleasure we present

the farmers of our own field of dreams that is

independent UK record label Voidance Records,

an outfit run by like-minded missionaries in

music, geared squarely at forcing the industry

to re-evaluate how it treats both musicians and

the market.

Founded in the October of 2013 Hammy Havoc

(from The Orion Correlation) and Ali Amel (of

Lost & Found fame) became the imaginers’ in

reality when they came to the conclusion that

a much needed kick in the splits was needed;

understanding the need to embrace the diver-

sity of sounds and equally individual styles and

personalities of this distinctly media savvy new

generation the pair launched Voidance Records.

Though approaching the new venture from

seemingly opposite poles of the musical spec-

trum- jungle, garage, and classic R&B falling

under Ali’s interests, Hammy favoring turntables,

rock and chip tune - the pairs shared passions

for music other than what was represented by a

conservative chart-market defined the founda-

tions of the label’s remit; to be unafraid to take

chances on a sound that offered a new way of

hearing, showed a new direction to take, and

show the world what was available beyond the

homogenized and safe.

‘Although music is more accessible than ever before

by consumers with streaming services,’ explains

Hammy, ‘the commoditization of music has deval-

ued art as a whole. It’s not a business model that

can last, that’s why we’re going against the grain

by releasing on these digital stores and streaming

services but pushing DRM-free high quality music

files too via our upcoming online store of our own

to cut out the middle man along with having

audiophile grade vinyl pressed.’. Indeed, having

just released Love Clouds by Amanya Amariel

To be acknowledged

in this way, as an

independent label, so

soon, is nothing short

of amazing. “


VOIDANCE RECORDS

“CHERISH

ANY OPPORTUNITY TO

GET YOUR VOICE HEARD”

and seeing the fruits of their labors leaving an impact of indie-

defiance on the industry, Voidance Records’ musical supervisor and

marketing guru Peter Myers brings his own producing skills to the

fore with an exclusive debut EP that promises Japanese influenced

fresh disco beats.

Together they aim to cultivate a movement defined by quality and

thinking differently within various music scenes.

‘Winning this contest means a lot to me and the rest of the team at

Voidance Records,’ said Peter when talking to BWD Magazine, ‘to be

acknowledged in this way as an independent label so soon into our

story is nothing short of amazing. It’s really cool to have our voices

heard and give our two-- or twenty cents to anybody who is out there

reading the truth. Cherish every opportunity to get your voice out,

there’s a lot of major artists out there who have obligations not to

speak about certain topics, someone has to say it how it is.’

Lots of people say but very few do; and even fewer do so with such

an impressive start as Voidance Records have managed and with the

promise of the debut EP from The Orion Correlation on September

5th 2014 to come, things are sounding very promising indeed.

Contact Information:

Website: www.voidancerecords.com

Twitter: @VoidanceRecords

Facebook: VoidanceRecords

Photo Credits: Voidance Records - All Rights Reserved

VOIDANCE RECORDS


hree years ago and three albums into a career

that began with his 1998 self-titled debut, Cohen

decided that he and the music business should

call it quits. Talked into giving it one last go, he

released his best and biggest album to date. Like

A Man (2011) was an elegant, intimate beauty. His songs, performed

on a nylon-string guitar, both had a deep connection and engaged

in deep personal conversation with one of his greatest musical

influences, Leonard Cohen. Adam’s father. As MOJO said, this was an

album in which Adam Cohen “set about a quiet rapprochement with

his DNA.” It was also, as Leonard Cohen said, an album of “world-class

love songs.” A critical and commercial success, it brought Adam a gold

album, a long world tour and great anticipation for the follow-up.

In a break between concerts, he went into the studio and emerged

with a new album, which he scrapped. It didn’t feel honest. “I realized

that I needed desperate measures to keep me honest and also to relieve

me of the anxiety of following up the only successful record I’ve ever

made. However deliciously I had been in orbit, touring with that record,

I needed to tap into something more terrestrial, more rooted and real.”

We Go Home, Cohen’s fifth album, is by all definitions homemade.

He recorded his songs in rooms as familiar to him as his name.

Since the band was playing in Europe, Adam decided to set up shop

in the little white house on the Greek island of Hydra where he

had spent much of his childhood. “Making an album in the comfort

of home on makeshift equipment with this band of touring musicians

who had become my family immediately offered a beacon of hope that

no studio, or session players or priceless gear ever could.” They con-

tinued recording in Montreal, where Adam was born, in the house

where he spent his earliest years. “I knew I was painting a target on

my back, making my album in the so-called homes of Leonard Cohen,

but they’re my homes too. These are the walls that saw me grow up

the most and that I needed to come back to. My muse is my home.”

Some of the themes on We Go Home continue the conversation that

Like A Man began. “I want the songs to speak for themselves”, says Cohen,

“but what I can say is that the songs on this record mostly chronicle

conversations I’ve either had with my old man, or want to have with my

boy”, Adam’s seven-year-old son Cassius, “and a few conversations I’m

having with myself. And, of course, there are love songs.” What’s differ-

ent is the tone—richer and fuller this time, more diverse, making the

most of the three-piece band and three-piece string section from his

tour. The nylon-string guitar is still there, but there are also piano

songs – the title track’s tenderness and self-mocking humor recall-

ing one of Cohen’s other great musical influences Randy Newman.

“My last album was about me finally claiming my belonging to

a tradition and finding my voice within that tradition. My new

album,” Adam Cohen states, “is about me raising my voice.”

We Go Home is released in September. Adam Cohen’s European

tour, featuring the band and string section, begins in Denmark,

culminating in a concert at London’s Bush Hall on 15th October.

Review by Stuart Westwood | LIVE AND DIE IN MUSIC-All Rights Reserved

TADAM COHEN | WE GO HOME | NEW ALBUM

http://liveanddieinmusic.com/author/stuart-westwood/

How the devil are we all? I’m struggling to believe how quickly these

months are rolling around at the moment. Building a recording studio is a

much bigger undertaking than you could ever imagine! I mean it’s hard...

Like trying to perceive the enormity of the universe. I may have exagger-

ated slightly there but it’s not too dissimilar in fairness. It takes a finely

balanced combination of elements to create a space (from a beaten up

industrial unit) that people are going to want to be in to record their musi-

cal babies. The space itself is incredibly important, scratch that, the budget

is incredibly important. Actually the location is important, the colour of

paints, position of doors, number of electrical outlets and where the light

switches are. Everything is important!

Last month I detailed the process of finding a suitable location for, and

starting to build our studio. This month it’s been more stud walls, window

surrounds and finally some paint. Around 60-ish percent of the walls, we

are currently painting, didn’t exist when we took this unit on and some-

times I just stand and wonder at the new space we’ve created. Clean lines

and smooth plastered walls have replaced ugly grey concrete blocks, brand

new windows now shed light into our live room through from the control

room and strange wooden structures are starting to appear leant against

various walls.

One of the trickiest things has been the colours of the rooms. We knew

at the beginning that the colours of the logo should set the tone, these

being mostly monochromatic (black and white and any point in between)

and Gold. Something else we wanted to be aware of was the somewhat

‘industrial’ nature of the place. They used to make nails and tacks in our

section of the old Wolverhampton Crown Nail Works, the entry to the unit

has steel slabs pitched down into the unit for when they were pulling pal-

lets of nails around to and from the scales which are still situated in the

unit but now part of the corridor and unlikely to be moving any time soon

as they’re taller than most people and are embedded nearly a metre down

into the concrete floor. When the unit was split into two, and then again

into separate rooms the scales were too big a difficulty for the landlord to

remove so they became a feature. Quite an interesting one at that and a link

to the heritage of the building, and to a degree, the town it’s in. So finding

a complimentary colour scheme to this industrial backdrop was important.

Grey. In fact several greys later and a weighty amount of astonishment as

to what colour grey actually is and can be interpreted as, we settled on the

live room colours (or non-colours) as it is. A dark grey for the ceiling of the

live room and a lighter dove grey for the walls. Now this possibly sounds a

bit ‘1960’s BBC’ to some of you but stay with me.

The control room was initially under the same criteria but we wanted to

have a difference in the feel of the rooms, the live room being open, airy

and light but the control room being more of a spaceship (yes I really just

said that) with all the focus being on the controls of the various gear we

will eventually have in there, the speakers, and the window through into

the live room for visual communication between band members or myself

during takes. You’d be surprised what you can mime to a player mid-perfor-

mance, as long as their attention isn’t taken by the (more often than not)

frontman pulling his trousers down to ‘moon’ them from over your shoulder

for comedy purposes and rightly so. Anyway, I digress.

So the grey we had planned for the control room turned out to be brown.

BROWN! But we stuck with it and strangely enough it’s actually quite pleas-

ant in combination with the slightly bluish grey side walls and natural oak

wood window surround. There is a slightly more logical approach to the

colour scheme than I’m letting on as well, LED multi-coloured ribbons! The

ribbons will provide the mood for the place with washes of colour over the

walls and around features where the grey slightly softens and adds tones

to the colours, these ribbons along with a few lighting lamps around the

room should provide an interesting but not distracting backdrop to the

music and allow us to see between the rooms without too many reflections

on the glass.

See what I mean about the balancing act? We haven’t even got a decent

pair of speakers in there yet! It hasn’t all been wood and nails this month

though, alongside building the studio I’ve still been recording bands 70

miles away at Foel Studio in Wales. Two three piece bands in one week

in two very different sessions. Indy Fire were first, a power trio belonging

somewhere between Metallica and Nirvana who despite being well pre-

pared haven’t done a gig yet! I can only imagine they’ll rock it regardless. A

quick trip home and back again with Hope for Return, another three piece

who’s recent loss of a guitarist really hasn’t slowed them down, and if any-

thing it’s opened them up to a much tighter, heavier sound.

After five weeks of building, arranging, budgeting and more building it

was great to get behind the glass again and actually record some bands,

although I couldn’t help letting my mind wonder about how the first ses-

sion might go at Crown Works Studio, Wolverhampton. Established 2014.

Buffalo Music Production - www.facebook.com/gazz.rogers

Foel Studio - http://www.foelstudio.co.uk/Photo Credits:

Buffalo Bites - All Rights Reserved

MONTHLY FEATURE


BUFFALO BITES


PUT IT ON MY TABWith a view to casting a wide net across the sea of applications afforded to the discerning downloader this month we’re

looking at the more social side of interest-ing app’s geared towards clarity, quality, and some non-creepy crowd closeness...

PUT IT ON MY TAB


Because mankind has yet to form a uni-

versal tongue with which to express ideas

and thoughts it’s down to the good folk of

those who Google to bring a handy-dandy

app of leviathan-like promise.

Speak, tap, or scrawl some missive across the screen of your

enabled device and Google Translate will offer a choice of lan-

guages you wish to parlay your message into. Even images pose

little threat to the mighty app, ale to take the text and turn it into

something legible to your uncertain peepers.

With 80 languages to choose from it certainly isn’t short in offer-

ing you a platform of communication with almost anybody in the

world (from the mighty continent of Europe to the many eastern

lands and most other places in between), and with the option to

save phrases to its own phrasebook there’s nothing stopping you

building a quick go-to guide of your own regularly used musings.

Edit pictures in the palm of your hand

with all the skill of a pro and none of the

talent, thanks to Afterlight on the iPhone.

Choose between the apps stock 15 tools

to crop, clip, pimp and polish your pics to

perfection, laying down filters (both pre-set and custom) to add

texture and taste to your particular tastes.

Lay some light source in the right places or remove from the wrong,

enhancing the image to almost polarizing pleasures. Perhaps the

shot was angled wrong or might need some straightening up; on

the other hand, should the fancy rise, you can even twist and/or

turn to create trippy depth dimensions of delightful endeavor.

With the power of a full editing suite at your disposal why not

present the finished photo within one of the many, many frames

on offer thru the app, instantly sharing online via Instagram for

instant internet infamy and fame.

Stalk your favorite artists in the least

creepy way via the Bandsintown app, a

smart little app that will track the activi-

ties of your most cherished musicians and

tell you when they’re coming your way.

By scanning the contents of your music library the app seeks out

and follows the happenings of the artists appearing in your playl-

ist, sending you notifications when they’re playing nearby and

letting you buy tickets thru-app from one of the many choices of

ticket platforms available.

By offering a wholly personalized calendar to keep track of con-

certs and gigs you need never miss seeing Boston in Boston or

Europe in Europe, the choice to have the app alert you to per-

formances only in the areas and locales you wish to catch an act

in means you can plan your holiday destinations around Kanye’s

upcoming tour without missing ‘Quo in your hometown.

Sync the whole thing to your iTunes, Spotify, music-listening-plat-

form-of-choice and never miss the opportunity to witness live the

musical perfection experienced within each earful of enjoyment

your playlist purveys, confident in your future crowd closeness as

it constantly updates and informs you of all upcoming gigs and

shows, filling your music (and social) calendar as it goes.

GOOGLE TRANSLATE BANDSINTOWN

AFTERLIGHT


hough America has the market covered for those seek-

ing their own opportunity in spades - with the won-

derful world of Hollywood holding the cards marked

‘Aspiration’ and Los Angeles bearing those entitled

‘Inspiration’ - Europe has always been seen as the cor-

nerstone of history; any significant event or cultural

happening has its roots firmly planted within the many faceted peoples and

boarders throughout the gigantic landmass of populace and the promise of

imagination made real therein.

Significantly it is the world of music that owes an unpayable debt

to the continent possibly more

than any other, the symphonies

and stanzas that play out as a

soundtrack to the major events

and ages of world history under-

scoring everything from the out-

break of war to the outbreak

of the Kardashians. Defining the

moment as an indelible mark

on a page in man’s history the

musicians behind such events

are of such a considerable force-

de-measure they bend the landscape around them, re-defining the genre

represented by their sound as theirs and theirs alone.

Much like Britain with The Beatles and Sabbath and Germany with

Bach and Beethoven before that Sweden is no stranger to delivering monu-

mental shifts in the sonic landscape - ABBA, Aqua - and has once again put

itself at the forefront as the nation to birth re-defining artistes with the

melodically driven and emotionally explosive group End Of September. With

an un-presumptuous beginning that saw founding member Erik Tordsson

writing and scoring his own compositions it became clear to the musician

that the local scene wasn’t a reflection of the music he felt it deserved, was

capable of producing and moving the genres forward. Charged with the pas-

sion to be the change sorely needed and filled with the talent capable of

delivering same End Of September became a reality and history was forged.

Initially comprising of Erik Tordsson on guitars it was with former vocal-

ist Victoria Sundberg that the band catapulted the lyrical illuminations

and emotional musical melody of song-writer Erik into the ears of Ulterium

Records, the label signing the group after hearing their demo release. Surely

fated for greatness it was to prove anything but easy for End Of September

however, with singer Victoria and the band parting ways shortly after the

deal had been signed.

Though almost tragic to be now snatching defeat from the jaws of

victory Erik invested the following two year hiatus into the music, develop-

ing the End Of September sound

and taking himself to that next

level of superiority in songsmith

End Of September were destined

to become. Now a fully real-

ized entity of Johan Nöjd on

bass and Johan Svensson behind

the drums accompanying Erik

on guitars and vocalist Elin

Redin End Of September are the

force all other bands are finding

themselves reckoning with.

With favorable comparisons to established acts such as Within

Temptation and Evanescence End Of September’s self-titled debut album

release has shown them to have more musical imperative than any contem-

porary may command. Having been washed away on the waves of incredible

highs and breath-taking depths End Of September display on their nine track

release BWD Magazine wasted no time in hitting the buttons and making

the calls and sorting the connecting flights between Here and There and sat

down with Swedish band End Of September to ask them about their sound;

what drives the mind of Erik Tordsson to create such whirlwinds of wonder,

and a little lesson in standards.

EXCLUSIVE INTERVIEW

TEND OF SEPTEMBEREND OF SEPTEMBER


BWD: End Of September is the name of the band, but who are the people

behind the music..?

Elin Redin - Vocals

Erik Tordsson - Guitar, backup vocals

Johan Nöjd - Bass

Daniel Berg - Drums - Daniel is our new drummer, but he´s actually the one play-

ing drums on the record, and also participated in writing some of the songs e.g.

Left in this world. Erik is the songwriter, with Daniel, on the record. He´s also the

one that mixed and produced the entire album. But on the next record maybe

the rest of us will have some influence. ;)

BWD: From the beginning in ‘09 it seems End Of September have always

been destined to sit atop the charts and playlists, but it hasn’t been without

some set-backs..?

Erik started this project in 09 I think and he worked with a singer called Victoria.

Due to the distance between them the cooperation kind of failed and he went

searching for some local singer. Then he found Elin in 2010-2011 through some

of his friends that he had studied with at the university. Elin is married to one

of Erik’s old classmates. They started to record vocals on some of the songs and

they felt that it was going to be awesome. In 2011, I, Johan, moved to Växjö to

study music at the university and by chance I found an old ad at a site. It was

written 6 months before I ran over it but I thought that I would give it a chance.

I should add that at the time the ad said that it was a studio-project and that

they needed a bass player. After a week I got an answer from Erik and he told

me that he thought about making this project into a touring band and asked if

I still wanted to join and I said, Sure!

I met Elin and Erik at the library in Växjö and we discussed for a good hour, hour

and a half, and I think we all felt that we connected somehow. Now we were a

trio but we still needed a drummer. Daniel who recorded the drums didn´t want

to join us.

Through a friend to Erik and Elin, who’s a teacher of drumming, we found our

first drummer Johan Svensson. He had also moved to Växjö for studies in music

and we auditioned him and it felt great so the band was then complete. This

was in February 2012.

Later Erik thought that I, Johan, was going to rerecord the bass on the album. He

did this himself but felt that he wanted a “real” bass player to do it. So I locked

myself in my dorm and practiced a recorded bass for the album in one week.

Everything else was more or less finished.

We also recorded a music video in Gothenburg to the song we wanted to release

as our single, “Isolated” and that was kind of an awkward feeling. At the time we

had never played live together and we didn´t really know each other, as in how

we moved while playing and so on. But the end result was in my opinion great!

Then in May 2012 the record was released and the critic’s feedback was good.

We did some live shows in Finland, Holland, Germany and Sweden. When we

played live we felt that we needed some back up guitar so we could deliver all

the details from the record and then Linus Söderholm joined as a live-guitarist.

Later he quit and so did Daniel, the drummer. So last summer we had a stand in

drummer and put some of the guitars in the playback.

Now Daniel finally decided to join the band, again? Kind of, and we’re currently

writing for a new album that’s going to be awesome.

BWD: With Sweden’s previous world-dominating group ABBA re-defining

their respective genre do you see End Of September as the band to do the

same for metal..?

The music industry today is hard. It’s hard to protrude, as ABBA did at the time

they did. I personally think that an important detail is the image. Everything

from clothes to cd-covers and how you meet your audience. I think that it’s hard

to just breakthrough with your music today, everything has already been done.

It’s also important to tour and spread the music live. I think that we have some

to work to do. We actually still find fans and a devoted audience even with our

lack of touring. The internet is a great way to spread your music and advertise

your band, especially through social media like Facebook, Instagram and Twitter.

Because some of us have family and full time jobs it’s hard to give “everything”.

I think all of us would want to tour the world and become world-famous, but

there is too much too lose.

BWD: As a launching platform for your career how do you feel Europe com-

pares to the rest of the world for building an audience, making a connection

with fans and getting our music ‘out there’..?

As mentioned before I think that you have a great chance to find an audience

through internet and social media, but the most effective way would be to tour

and play live shows. I can’t say so much about a comparison of Europe and the

rest of the world. But something that is kind of weird, maybe not I don’t know,

is that 50 % of our Facebook likes come from people living in South America.

Maybe our music and/or lyrics appeals to them more. Hard to say. But as I men-

tioned before, we need to be better at advertising ourselves by touring, commu-

nicating with our fans through internet, and be sure to have a constant update

flow on our twitter, Instagram, YouTube and Facebook. That’s the hard bit due

to our weekdays full of family, business, and working hard at our full time jobs.

BWD: Having been thoroughly absorbed by your self-titled debut release

for some time now when can we expect to see the band on-the-road and in

our-faces..?

We hope that the upcoming album will give us opportunities to play live. Of

course there will be a release tour but how far we will travel is hard to answer.

We have no dates to tell you about, currently we are writing songs and as we

speak we have 5-6 demos that we have agreed to use on the album. So in

another 5-6 more songs we’ve agreed that we will be able to give you all the

dates. We will also post some studio footage and presentation of our new drum-

mer soon so keep your eyes on our pages.

BWD: And finally! Finish this sentence; I may not be perfect by your stan-

dards, but..? I am myself, that’s what matters most!


Website: www.endofseptember.net

Twitter: @Endofsept

Facebook: endofseptember

Artwork: Markus Sigfridsson [Darkwater, Obsession, Harmony]

Photo Credits: End of September - All Rights Reserved


JESSEJAMES

aving first unveiled unto the world in our February

2013 issue the chiseled good looks and Herculean phy-

sique Jesse James has been a one man army of explosive

force in the world of professional modeling.

Defining the new generation of talent to turn heads and raise eye-

brows in appreciation Jesse has seen his uncompromising good-looks

becoming the look, his effortless outward visage being the image of

perfection sought after by the front covers; filling up news-stands

everywhere.

From Ripped, Shredded and Muscular revealing Jesse’s defining look

to the iron-pumping platform, Muscle Magazine defining his name

amongst serious competitors and builders of the body, and Inside

Fitness Magazine picking Jesse for a feature within its hallowed pages

of peak-perfect specimens, the world has been an unfurling carpet

before Jesse James’ stride on his way to the forefront of the finest of

physical forms.

Away from the rising temperatures of intensity in the gym Jesse James

has been getting the modelling world hot under the collar with

appearances at Dillard’s Fashion Show, the Dennis Quad Fashion Show,

and taking the Runner-Up Male Model of the Year Award from Male

Model 8K.

Along the way…

Away from the spotlights of sculptured perfection and beneath the

flood-lights of TinstleTown (and no doubt Hollywood soon enough)

Jesse has been invited to become a member of the exclusive club that

is Celebrity, several televisual and media showings seeing familiarity

and demand for his talents join those aforementioned temperatures.

Looking to the future and eye-spying a Jesse James shaped horizon

BWD Magazine trotted off to the Texan-Titan’s door, camera and ques-

tions clutched tightly in hand, to catch up and reminisce and speak of

the future to come in the world of Jesse James.

BWD: Hi there, great to see you again..!

What is up BWD Magazine, it is great to be talking again especially since

it is for the cover!

BWD: Since we last spoke it looks like the world has taken on a very Jesse James shape?

It has! Since last being featured in BWD Magazine I became a member

of the NPC (National Physique Committee) and started competing in phy-

sique competitions around Texas. My first competition was in Austin, Texas

back in April ’14, pictures are posted on my fan pages listed under the

contact portion of this feature.

H

Website: www.instagram.com/rollinsw0llen

Twitter: @rollinsw0llen

Facebook: rollinsw0llen

Photo Credits: Devine Imaging - All Rights Reserved

EXCLUSIVE INTERVIEW

Cover StoryTheThe

JESSEJAMES


Then back in May I went on a national tour that lead us to Orlando and

back with my band Hindsight. Right after getting back from tour I got

with my trainer/coach Frank Milstad from MetroFlex Gym in San Anto-

nio and got back to work on getting ready for my next 2 competitions,

August 16th in Dallas at the Texas State Championship and August 30

in Waco at the Central Texas Showdown. To see how I did make sure

to hit up my fan page as I keep it up to date with pictures of my daily

adventures from competitions to band related events. I also picked up

an endorsement by Steve Clayton Inc. Guitar Picks which had me super

excited, I have been a fan and used their picks all the time. So to now

be a part of a company that has the who’s who of music using their gear

makes me very proud to be listed as an endorsed artist for them.

BWD: The demand for perfection has always been a drive not many manage to maintain..? I have to agree perfection is a very slippery slope that even I have to

make sure to not get sucked in and over analyze myself into thinking

I have to maintain a certain “look” to be accepted or feel good about

myself. Don’t get me wrong I love looking shredded but it has to come

with balance. I had to learn that all those guys in the muscle magazines

I read don’t walk around like that 24/7 lol. My inspiration has to be

the man Arnold Schwarzenegger, ever since seeing Pumping Iron I have

been a fan of his lifestyle and theology. It has helped me to push myself

when I think this dude came from overseas, didn’t know proper English,

became a star in everything he was involved in, and it gives you the

encouragement to keep pushing forward to achieve your goals. My “typi-

cal” workout varies, off season it is more around the 3 x 10 rep ranges, 1

hour a day, only 4 days a week. During competition time I do a lot of HIIT

(High-intensity interval training) where my reps can be from 5-10 sets

ranging from 25-1 rep for each body part. Those trainings are intense

but I just love the intensity.

BWD: Appearances on both the cat-walk and silver screen, there seems no end for your attentions?

I am by far no “celebrity’ or famous lol so even though my life is a bit

hectic it is far from doable. I take each opportunity I get as a blessing

and am grateful that I am able to inspire people with my music and

fitness. I have people message me or come up to me at a show and tell

me how much I’ve inspired them to pick up a music instrument or how

they’ve lost 50 lbs. because they are motivated by the pictures I post on-

line. Don’t get me wrong, it is definitely a juggling act to go from touring

the state or nation with my band to eating super strict for a competition

and competing. You would be surprised on how closely music and fit-

ness intermingle so it blends well. As for opportunity I’ve had some cool

experiences from doing a fashion show for the actor Dennis Quad, being

in a rock music video (not for my band), to meeting bands like Starset,

Nonpoint, We Cames As Romans, P.O.D., and so many more.

BWD: What advice would you give to anyone who wants to follow-in-your-footsteps as it were..? To anyone who would want to follow down my path I will say it takes a

lot of time and dedication. I never realized just how much time it took to

become a competitive bodybuilder. Make sure your girlfriend, wife, fam-

ily realize you will be MIA for a few months prior to your show lol. It’s

tough but well worth it when you start seeing the results!

BWD: And finally! Which would you choose…?...Paris......OR......Hollywood?

I would choose Paris as I’ve been to Hollywood. It’s cool and all but

would love to take my girlfriend on a romantic getaway where we can

eat and do some sight-seeing.

BWD: Awwwwwwww…..


Attention is an attractive fiend indeed, and something every musician needs

to court with a lovers affections if to give ones-self the best chance of being

seen, heard, and heralded as the next big thing.

No longer relying on A&R scouts in crowds at gigs or the whispering of an

‘underground insider’ pointing them in the direction of the next hit making

band the industry is a far more approachable beast than ever before, with

even the most minor of players in the industry now contactable via email it’s

never been easier to get your music to the desk of those ‘in the know’.

So when looking to seek the sanguine affections of the industry ears you

need to give yourself the best chance of standing out and shining in the

crowd; and with that being the theme of this month’s 5 Tips lets kick things

off with a somewhat obvious though crucial point.

.

No matter what anyone tries telling you about

‘not judging on first impressions’ the hard fact of

the matter is EVERYONE DOES. Anyone who says

they don’t are either lying to themselves or lying

to you but either way, they’re lying.

Such a truth is underlined when trying to create a buzz around your

music. If the first ten to twenty seconds don’t grab you by the ears and

head-butt your attentions then the remaining two and a half minutes

will remain unheard. People involved with music submissions get

swamped by literally thousands of emails a day, each with at least one

track attached of roughly three minutes in length. Ten emails containing

a pair of tracks apiece and already you’re looking at an hour’s worth of

5 TIPS FOR GETTING NOTICED

GET OUT AND GIG

attention if all the tracks get listened to in full. And in an ideal

world there would be a pair of ears handy for every three minute

moment of music to dedicate themselves to giving a thorough

listening to, but things just aren’t so.

Always put your best track first and only submit those you feel

show off your aural extravagance in the best light; catchy and

with a beat or tuneful and leading, whatever riff that kicks you in

the teeth or sample that segues into the senses and strokes the

happy gland. This is no time for false modesty or hoping the note

you made about it being a bit rough sounding due to the produc-

er being ill on the final day of mixing will garner some sympathy

points; be brave and be bold and be damned to the rest!

Having something to add to the email

regarding your activities is a crucial part of

helping bring notice your way, and the best

news to include is where your next gig/

appearance is for two key reasons:

Firstly, it instantly adds to your attention getting mission by

having you or your bands name advertised to a prospective audi-

ence for free, your image leering out from posters and adverts in

magazines and websites, anything online able to be linked to and

mentioned and shared on your social sites – with a re-sharing of

each of your own sharing posts from the other names on the bill

and the venue itself. Secondly, it shows you are committed to get-

ting your sound out there and that there is an audience out there

prepared to pay money to see you live and in action.

SOUND IS KEY

1.2.

5 TIPS FOR GETTING NOTICED


A handful of gigs, a quote and link to your latest review, and any

upcoming activities you’re involved with gives just enough of a

nudge of persuasion, maybe spark their interest that bit more than

any of the previous emails they’ve received, to hit ‘play’ on that mp3

file sitting under their cursor.

Much like being presented with a plateful of

untasted cuisine the first taste anyone will

take will be with their eyes; if the presenta-

tion is less than palatable then their opin-

ion of your music will also be considered

thus. True, the producer has made the tracks shiny and comparable

to anything the big-wigs may knock out on a regular chart-hitting

basis, but so too are the promo shots and images linked to the files

they send out into the world to encourage reviewers and interview-

ers, P.R.’s and passer-by’s to ‘check it out’.

You don’t need Bill Bailey in your corner to get some quality imag-

es of yourself or your band, and with the advent of the app stores

across the board of mobile devices there are simply no excuses for

not having a presentable press pack of pic’s showing you in your

best Photo shopped light or similar. A minute spent removing red-

eye or adding mood lighting can make all the difference in your

shots being just something that fills the space on the page and

something that leaps out of the screen and demands your atten-

tions for more.

The industry doesn’t provide serving

dwarves and soirees for gratis anymore - if

they ever did. Everything from the beers

at the bar to the gas money for the van

HAS to be accounted for out of your own

pocket, and if you can’t demonstrate your music has the ability to

bring in the folding stuff (and you are able to manage said wodge

of wedge) then no amount of rave reviews of sold out shows will

endear you an industry primarily focused on making as much

money out of you/your music as possible - it’s called the ‘music

BUSINESS’ after all.

Keep receipts and manage your accounts; no-one’s saying you have

to play every show sober or walk around in rags, but you MUST

be able to show financial responsibility. Keep the profit margin

healthy and the expenditure lean, as being able to show a poten-

tial label your nous at money management will make you a more

viable investment for their roster of artists and less like a liability,

a music-money sponge.

With a handful of social sites and a dedi-

cated time table of rocking out to stick to it

can be hard to manage the promotion side

of your music and get an audience of ears

pointing in your direction.

Twitter, Facebook, a plethora of Cloud’s and similar all offer a

chance to engage with the world on a personal level without

stranger danger being more of a challenge to deal with then click-

ing the block option beside their name.

But as you add to your network of promotional platforms so too do

you increase the amount of time and energies needed to success-

fully keep them relevant and engaging with your fans.

As we all know, ‘a moment online’ is about an hour in the real world

and with each site requiring your attentions on a fairly regular

basis it can turn into a monolith of drudge that sucks out your sole

and leaves your audience in the dark and losing interest.

Trying to manage everything all at once is not the way forward;

instead alternate the sites you attend to on a daily basis. Nothing

spectacular will be missed if you focus on Facebook today rather

than Sharing on Soundcloud, and as most social sites have an

email alert option you can always be in the loop as to what’s hap-

pening when talking twerking on Twitter.

Post relevant information and encourage replies to your posts;

interaction brings attention as people check back and reply and

check back again and see the reply has been shared to all your fol-

lowers and so they share that share with their followers and so on

and such and so forth and yup...

Cross promote from one of your sites to the other by re-tweeting

links and the people you’ve engaged with; any comments on their

time-lines and similar on yours, it’s a form of conversation that

speaks through digital means but is understood and appreciated

by all.

It’s up to you how long you spend on each site, and with bands

each member can take responsibility of different sites and accord

their own level of investment regarding time. However you decide

what’s, why’s, and how-long-for’s it all counts towards bringing one

more pair of eyes in your overall direction.

MONEY-MONEY-MONEY MONEY!

PICTURE PERFECT

BE A MANAGER

3.

4.

5.


aving resolutely eschewed the establishment for

so many years the inevitable absorption of Punk

into the mainstream was as unexpected as the

music itself; from its raw edged energies and

unapologetic sound it sneered at the charts and

spat at the crowds and was as far removed from socially acceptable

as its message was blunt.

From the casual observers eye punk has become something more

Busted than Buzzcocks, a genre where its musicians are either

bemoaning broken hearts or someone’s mum or teen-angst mis-

sives pertaining to very little but delivered with a jump at the

chorus.

Bands like The Offspring

have gone from punks-

next-successors to

middle-aged musicians

sweating through the

classics their audience

demand, and with grun-

ge muddying the waters

with great lumps of car-

digan adorned angst the

genre has been lacking

that hunger and bite

that made you want to

buy a pair of Doc Martin’s and shove a safety pin through your nose.

However, with bands like Sunken Monkey and their upcoming album

Party Scars it’s clear that punk is in good hands and safety pins

will never lose their insta-ear-ring appeal, the release packing an

astonishing thirteen tracks of pure, unadulterated energy onto the

track-listing.

Forming in the beginning of that time known as the Noughties

Sunken Monkey are a band whose influences bridge an entire spec-

trum of musicians and artists; Rise Against, NOFX, Four Year Strong,

the influences are as great as the music the band have created

from such solid foundations.

With changes to the initial line-up reshaping the outward appear-

ance of the band Sunken Monkey has retained its original ethos

of creating music that didn’t just nail itself to the listeners happy

gland and send crowds moving across the floor, but also songs

that had stories within them, relatable missives that catch you with

their hooks and keep you fed on their words.

With their self-titled debut release in 2009 Sunken Monkey found

themselves hitting the road and touring the shores, every show an

event, every audience exhausted from Sunken Monkey’s relentless

energies onstage.

Off the road and into the

studio and Sunken Monkey

return fully replete and

ready to greet the sea

of faces awaiting their

return to the live scene in

support of the upcoming

Party Scars album.

Boots nicely polished and

sneer firmly packed BWD

Magazine stepped out of

our offices and into the

bon homie of Sunken Monkey to speak of their new ‘Scars and

sounds.

EXCLUSIVE INTERVIEW

BWD: To the princes of punk that are Sunken Monkey we say Hello, please introduce yourselves..?

Hello BWD Magazine! It is our pleasure! We are Spindle (guitar, vocals),

Adam (bass), Rob (guitar) and Hendy (drums) and we are Sunken

Monkey from Burnley, a small town near Manchester, England.

H

SUNKENMONKEYSUNKENMONKEY


BWD: It sounds like you’ve turned the brakes off on your upcom-ing album Party Scars, a visceral, energetic, adrenalin rush of a sound that surges through your senses..?

It is certainly an album we have worked hard on. One or two of the

songs on “Party Scars” have been knocking around our set list for

four or five years now. Believe it or not the initial album recordings

began two or three years ago, but we didn’t want to settle on some-

thing when we knew we could achieve a better end product. We are

proud of what we have achieved with the finished album, which will

be released on October 6th.

The songs all have a story, it is just the way we write. Whether it is

a love song or just a song about a crazy night out drinking with the

boys they are all real life events and that is what makes them so

relatable. Musically, the bands that influence us such as NOFX and

Rise Against are pretty clear to see, but we also love metal music

and even some pop music and these are all genres that rear their

heads on “Party Scars”, we struggle to categorize ourselves in all

honesty, but pop punk tends to be the genre we are pigeon holed as.

BWD: The genre of punk has been a bit diluted in recent times, what with bands like Busted and McFly falling under the same banner..?

If Busted and McFly are pop punk bands then the genre really has

been diluted! Whilst the roots of pop punk must obviously go back

way before the bands about to be mentioned for us bands such as

Green Day and The Offspring really paved the way and brought it

into the mainstream for bands such as Blink 182, Jimmy Eat World,

Bowling For Soup etc. How Busted and McFly can be put in the same

category as those bands is beyond us. In all honesty, we always

advertise ourselves as pop punk/rock/alternative simply because we

don’t want people coming to see us or buying our album thinking

they are going to be listening to songs in the style of Green Day -

alternative covers a lot more bases! One or two of our songs really

do lean towards the heavier end of the spectrum, but as previously

mentioned all four of us listen to a wide variety of musical genres

and we really are of the ethos that a good song is a good song,

regardless of genre, which brings us back to the original question

really! If Busted write a great tune, it is a great tune, probably a pop

tune in our book though not pop punk.

BWD: What was the reason (or reasons) for the band’s hiatus after the end of the ‘09 tour?

It wasn’t a hiatus as such, we just kind of disappeared off the radar

for long periods of time for various reasons. Only two of the mem-

bers from our release in 2009 remain now. Rob and Adam have

joined in the meantime and really completed the line-up and we

are now a close-knit group, we have all been good friends for many

years and it felt like the right time for us all to come together and

complete Sunken Monkey. The ex-members are all still good friends

too, but people’s lives change and priorities change and you have to

respect that. We started and practically scrapped the album, wrote

new songs and here we are five years later!

BWD: Now more a militia of musicians than merely a band what’s next on the Sunken Monkey’s horizons..?

Simply to work hard, have fun and see where it takes us. Our promo

campaign is up and running and we thank you wholeheartedly for

giving us this interview and a platform to increase our profile. We

have a few dates booked towards the end of the year and we are

looking forward to making some new fans and getting our music

heard again. The album will be available to buy from all good online

stores, Spotify, Bandcamp, Amazon all details of which will be posted

on our official webpage, hit us up on Facebook and Twitter as we

regularly interact through social media too.

BWD: And finally! Who would win in a fight over the last peanut on Earth…?...Dumbo......OR......Curious George?

Easy! We always side with the monkey! Curious George all the way!


Website: www.sunkenmonkey.co.uk

Twitter: @Sunken_Monkey

Facebook: sunkenmonkey

Photo Credits: Sunken Monkey - All Rights Reserved.


egends never die; they simply let others attempt to emu-

late their legacy until such a time the world needs remind-

ing of how it’s actually done.

With over forty years’ experience delivered with the enthu-

siasm of a freshly faced bunch of a band taking their first steps on stage

Canada’s very own rock royalty Helix are back once again to bestride the

stage, take control of the wheel, and steer the wildly swerving genre of rock

back onto the correct path of riffs done right, lyrics writ large, and choruses

of controlled chaos.

Gouging out their name across

the thick-leafed slabs of the

annuls of rock back in 1974

Helix has been responsible

for more than its fair share of

emotionally driven fans burst-

ing the rook from its rafters of

venues around the world, con-

tinents sent crumbling and bor-

ders breached by the band. Few

bands are able to compare a

discography of delicacies for the

discerning digital downloader,

a perusing patron of the shop

shelf awash with the assortment

of audio Helix’s nineteen album strong history represents.

From their debut album Breaking Loose in ‘77 Helix have ruled the road

around the world; beginning in their home town of Kitchener, Ontario they

quickly stamped their sound across its stages before stepping out to send

sporrans soaring in Scotland, uniting their separated fans in the formerly

divided Germany, and awed the audiences of Australia whilst also learning

first-hand which way the water goes down the plug-hole.

Such efforts would mean naught however, if the fruits of their labors were

spoiled or non-existent. However, with two platinum albums, four gold ones,

and a number one smash hit record in Europe in the guise of Long Way To

Heaven to roam your roving eye across Helix’s fruits should be considered

the very best of the bunch being borne on the branches of rock.

From Motley Crue to Meatloaf and Motorhead, Helix have an enviable

alphabetized list of names in their touring diary, over two hundred of the

world’s greatest and gravitas gathering groups sharing the honor and spot-

light with the band.

Line-up and fashion changes have left many scars upon the original

incarnation of the band,

founding member and

vocalist Brian Vollmer

the steadying hand

throughout the dark

times of chart-dirge

and even darker times

of death when guitarist

Paul Hackman was trag-

ically lost in a traffic

accident back in 1992.

Continuing to be the

fire that stoked the

flames of passion with-

in music during grunge,

nu-metal, and television singing popularity contests Helix took charge once

again in 2011, re-igniting the emotion in music and passion of the fans with

a storming live set aboard the Sweden Rock Boat Cruise, fellow Maple-Leafed

luminaries Anvil joining the band on the line-up.

Having spent 2013 re-affirming their legacy of legend on the Monsters of

Rock Boat Cruise at the beginning of the year, headlining Ontario’s Sabstock

in the June before answering London’s call and the stage at Rock The

Park, before rounding out the summer with The Sheepdogs at Brandon,

Manitoba’s own Rock The Block, 2014 sees new members Kaleb Duck and

LHELIXHELIX


Chris Julke joining Daryl Gray, Greg “Fritz” Hinz, and Brian Vollmer

heading off touring Spain before appearing at Sioux Fall’s Ribfest.

With the autumn comes yet further engagements with Trooper

before Alberta’s audience comes-a-calling for more.

Continuing to build upon their legacy with yearly album releases

the bands currently working on their studio album release entitled

Bastard Of The Blues.

Seizing the opportunity to grab the band between their unceasing

schedule of road and studio ‘BWD Magazine’ sat and talked with the

band about their legacy of largess, their longevity and their licks,

and advice from a hindsight’s perspective.

EXCLUSIVE INTERVIEW

BWD: To Canada’s greatest export, Helix ‘hello’; please; introduce yourselves..?

Helix was formed in 1974 and continues to this day; our 40th

Anniversary being this year. We’ve toured all across North America and

Europe during that time and have sold close to 2,000,000 albums. This

year we released our 13th full length studio Cd “Bastard of the Blues”.

BWD: Kicking off a career with first album Breaking Loose in ‘77 did you ever imagine it would be the start of such longevity for the group?

Never really thought about it. Our focus was on putting out our first

disc of original material. Quitting wasn’t an option for me at the time.

The songs were written while we played in the bars-mostly on the

Ontario and Maritime circuit. One song in particular-You’re A Woman

Now-written by Paul Hackman, became a huge hit for us in the State of

Texas, and led to a 3 date tour of that state for us. At that time (1979) it

was unheard of for bands to tour the U.S. and we immediately became

stars in the eyes of our Canadian fans. Ironically, the song lyrics were

originally “Joan, don’t you worry” about a chick Paul de-flowered in a

little pulp and paper town called Espanola, that stunk of sulphur. The

only thing Paul remembered about her was that she stole his under-

wear the next morning to keep as a souvenir!

BWD: Through the various tastes and fashions the industry has dabbled with throughout the years how has Helix managed to main-tain its relevancy and appeal in such turbulent changing scenes..?

The love of music. The insatiable desire to keep creating music, record-

ing music, and selling music. You either have that drive or you don’t.

BWD: With over two hundred names on the list of bands ‘Helix have took the stage with’ which has left the most memorable impres-

sion- good or bad..?

There are many bands I’ve loved touring with. The first one that comes

to mind is Motorhead, which whom we did 3 tours. Lemmy was always

nice to me, which is more than I can say for Brian Robertson. Lemmy

is the real McCoy, has a great sense of humor, and is an intelligent

person. Alice Cooper, Ronnie James Dio, Ian Gillan, and several oth-

ers also hold fond memories for me. Our first 3 dates with Dio were

in Oklahoma City, Albuquerque, and Phoenix. All were top grossing

concerts for the venue size in Billboard Magazine. Ronnie would come

into our dressing room before each show, sit down and talk to us like

real human beings. A true gentleman. Ian Gillan was much the same.

Once, while in Naples, he took Denny Blake (my guitarist at the time)

and myself into his small dressing room trailer after the show, popped

open a bottle of wine and proceeded to tell us all the dirt about Deep

Purple and Richie Blackmore. The first time I ever drank Jägermeister

was with Gillan in East Berlin.

BWD: With such a rich musical heritage of sounds in the bands back-catalog what can we look forward to on your upcoming thir-teenth studio release, BASTARD OF THE BLUES..?

On “Bastard of the Blues” we took the sound “old school”, as Sean Kelly

(my writing partner on the last couple of Helix discs) knows every metal

lick ever written. We didn’t think too much about it-we just tried to

write songs we felt good about and our influences flowed through our

own writing. There’s a little bit of Alice Cooper, Great White, Harlequin,

and a slew of other 80’s acts influences there. We’ve been playing a

couple of songs in our live set from the upcoming Bastard of the Blues

release (Even Jesus, Wasn’t Loved in His Hometown/Axe to Grind/Skin in

the Game) and putting up the songs on Facebook and spreading them

around. In Canada the first single was Even Jesus, which we released

to radio by DMDS. We do several interviews a week to help promote.

As well, Tom Mathers of Perris, who distributes the disc in the U.S. and

Europe has been setting up interviews for me through publicist Nicky

Baldrain. In September we’ll be releasing another track (probably

Bastard of the Blues) to Canadian radio with an accompanying video.

BWD: And finally! If you could, what advice would you give to your younger selves’ way back when?

Well, hindsight is always 20-20 vision, but...Two things-I would have

chosen Mutt Lange to produce the Wild in the Streets CD (we had the

chance) and I would never have released It’s a Business Doing Pleasure

under the Helix name. I would have used my own.

Contact Information

Website: www.planethelix.com

myspace.com/helixonmyspace

Facebook: brian.vollmer.39

Photo Credits: Helix- All Rights Reserved


rom the sunny shores of a Floridian sky to the

ears and eyes of a worldwide audience BWD

has grown from an acorn of an idea into an oak

tree of industry-might, its roots deep within the

strata of social sites and online promotions, its

branches far-reaching and bearing fruitfulness aplenty.

Starting out developing websites Ms. Keach aka Ms. V proved her-

self more guru than mere graphic designer, her final works forging

a reputation of being the go-to girl for all things attention grab-

bing and intuitive.

Quickly she began laying the foundations for what would become

her own empire, reputation growing with each engagement and

the horizon of possibilities expanding even further than first

dreamed.

Whilst making some of the connections that would see BWD

become a leader in its field murmurings and mutterings regarding

the state of the music business came filtering through the wire.

Listening to the sounds of discontent chattering in the background

it became clear that, for all the talented individuals with credible

worth vying for the attentions of a label or promoter, those in the

Industry were more concerned with how profitable a bottom-line

they could wring from their talents than the merits and music of

the people themselves.

An avid appreciator of new and classic music Veralyn saw a gap

in the market for someone with the knowledge and nous, con-

nections and cunning, and - of course - the dedication to provide

a credible alternative to those as-yet unsigned greats of music, a

platform for them to launch themselves into the airwaves and soar

into the charts.

With each passing year BWD has grown in both experience and

influence, the listening world turning up the dial to be the first to

hear the latest unsigned extravagances of talent bursting from the

underground and across a global stage.

Not only affording the world of music a genuine outlet to purvey

it’s unbridled talents BWD Radio also promotes and inspires the

musicians it unveils, the multi-faceted nature of BWD incorporat-

ing all avenues of generating awareness and recognition to the

talents it reveals, encouraging the growth of their fan-base and

helping propel them onto the iPods and bedroom walls of a global

audience.

With the recent successful launch of the BWD Radio app the audi-

ence all artists are looking to find are as close as they have ever

been, right on the other side of millions of touch-screens and

monitors, smart-phones and tablets all bearing the app’s visage

across their surface.

Now a major player in the world of radio and media, the leader in

the field of generating buzz around the artists it plays on its non-

stop, commercial free station, and proudly wearing the banner of

being The Home Of The Indie Artists BWD founder Ms. V has proven

you don’t need a thousand lawyers fighting over who gets the

best parking spot in front of offices to forge a dominant empire

of multi-faceted out-lets; as the late great British entertainer Roy

Castle once said ‘Dedication’s all you need’.


Website: www.bwdradio.com

Twitter: @BWDRadio_

Facebook: BWDRadio

Instagram: BWDPromotions

Photo Credits: BWD Graphics - All Rights Reserved.

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Documents

BWD Magazine - September 2014