Here are some thoughts on,
A few exciting records,
And one not so much.
Here are some thoughts on,
Here are some thoughts on,
A few exciting records,
And one not so much.
In case you were having a good day, we made you a playlist to mess that up. We’ve assembled a list of ten songs to compliment those rainy April days, or for whenever you’re just feeling plain sad. (Which, given our target demographic, is probably decently often.) Check out these emotional tunes and don’t forget to smile! Or cry. Whichever.
The Mayfair, a project molded by the former drummer of Illuminate Me (Sebastian Quintero), just streamed the title track of its upcoming release Glass House. The upcoming seven song release was produced by none other than Aaron Gillespie, whom many know as the former(ish) drummer of Underoath.
For those of you who knew Illuminate Me, who recently called it quits, The Mayfair sounds nothing like that. What does it sound like? See for yourself HERE, and be sure to check out The Mayfair’s previous EPs, Ghost and This Is Love & Letting Go on bandcamp.
Glass House will be out on January 22nd.
This Sunday, December 13th, the non-profit organization If I Die Young will be holding a benefit show called ‘Let’s Move Cities‘ at the Foxhole Lounge in Berkeley Heights, NJ. The show will feature bands like Something More and In Theory as well as guest speakers to bring awareness to subjects like addiction, self-harm, suicide and depression. If you’re in or around the area this weekend and are looking for something fun and worth while to do, go see some live music and support a good cause.
Kevin Barnett (founder / president of If I Die Young)
Dan Gray (sponsored skater of Wisdom Skateboards)
Molly Hudelson (founder / editor-in-chief of Circles & Soundwaves)
A graduate of Teen Challenge Philadelphia
“Screening my calls?” I accuse, jokingly.
“Yeah (laughs). I was like, who do I know [with a number] from Hackensack, New Jersey?”
Travis is sitting on the other end of this conversation in Sacramento, CA., home to both A Lot Like Birds and Dance Gavin Dance, as well as his recently established record label, Esque Records. It’s this hyper-involvement in the music industry that’s got us talking. Between being a vocalist for multiple prominent bands, putting out his own solo project, being a band manager and now owning a record label, Travis fits the HXC Magazine “Diehard” description.
You’re going on the 10 year tour for Dance Gavin Dance soon, right?
Yeah. A Lot Like Birds is playing. A band I manage called Strawberry Girls (Tragic Hero Records) is gonna be on tour. I feel awesome about it. I feel super stoked. A Lot Like Birds and DGD haven’t done a tour in a while and it’s mostly A Lot Like Birds’s decision. We kind of wanted to branch out and play with other bands other than like the homie bands…But now that we got to do some other tours—we played with Enter Shikari and Stray From The Path and the whole Warped Tour thing a few years ago—it just seemed like a good idea to do another Dance Gavin Dance, homie tour.
So since you’ve done vocals for both bands, will you be making appearances for both bands on tour?
Yeah. I’m supposed to do three songs with [DGD]. I’ll probably do four. They’ll probably get me to do another one. Jonny (Craig, former vocalist for DGD) is doing the same thing, that’s why Slaves is on the tour. (Laughs) I think he’s gonna be doing a few songs as well. It’s gonna be an easy tour for Tilian (Pearson, current vocalist for DGD). Maybe we should get Tilian to sing on some A Lot Like Birds stuff.
You guys should just swap all your members.
(Laughs) Yeah, it should be really fun. I haven’t toured with DGD in a while and they’re always really fun to tour with. Ticket sales are doing really well, too.
You recently launched Esque Records, too.
Yes, literally like a month ago.
Why did you decide to start that up?
A lot of reasons. For one, I want something for when I can’t sing anymore. I don’t know when that’s gonna be, but you know, if my wife (Lauren Travis, web designer/public relations for Esque Records) and I have kids and I don’t wanna tour anymore…I’ve [also] toured so much that I’ve gotten the privilege to meet all these other bands and they always ask me, “Hey, what do I do to get big?” and I just kind of shrug my shoulders and say, “I don’t know, just keep doing what you’re doing.” So this is my way of helping other bands out and trying to get them where they wanna be. Also, when touring all over the country and even the world, you get to hear bands that open up for you. When I was younger I didn’t really pay attention much to it, but now that I’m getting a little older and I don’t drink and get fucked up as much, I’m actually paying attention to the talent that’s playing….and now I’m honestly listening to everything that people send me and show me and give me. And I just really want to help the music scene that has helped me. I figured a record label would be the perfect way to do it. Even though CD sales aren’t what they used to be in the decades before us, with the whole technology thing, I still think it’s a big representation, being on a record label. This band is on this record label. Well, why are they on that label? They take care of them and it’s like they’re part of their family. And that’s kind of what I want to have is a family of musicians.
What kinds of bands do you want to support?
My first band that I put out, they’re called Floral, a two-piece instrumental math rock band. But honestly I’m looking for everything. I kind of want an element of each sound to be representing Esque. And that’s kind of why I named the record label Esque, because the word Esque [means] “to be like something”; my point being that if you’re a part of Esque records you are also like it, no matter what. Even if you are different, you are a part of it. But yeah, we have like, a throwback emo band, they’re called Lemix J. Buckley. We have a band that kind of reminds me of Lower Definition meets Chon, they’re called In Angles. I have an indie pop band called Rome Hero Foxes, and I’m looking to maybe sign a hip hop act. I love rap and hip hop and stuff like that.
Any post-hardcore acts you think you want to sign? Since that’s where you came from as a musician.
There are some post-hardcore elements in In Angles. I manage a band that’s very post-hardcore, they’re called Adventurer, but they’re on Blue Swan Records and that’s kind of a sister label to us. They’re actually the first band that I started managing before I even thought about a record label. I got them signed to Blue Swan Records, and their demo is coming out pretty soon.
So you’ve been in a ton of bands, you manage other bands, you’ve started a record label. What keeps you so motivated to be so involved in the music scene?
Honestly, it is hard to stay motivated. It’s hard to keep the excitement level of anything going. You know, when you’re a kid, you get a new toy, you like it, like a Transformer—I loved my little Transformers when I was a kid—but they’d end up being at the bottom of the toy chest in a week. It’s hard to keep that spark alive, but honestly it’s the bands that I work with. I love every single second of music that they play and it really, really, really excites me to hear new music. So that always recharges me if I’m feeling frustrated…Also [the] fans. I try not to look at comments online just because it gets too overwhelming, but every now and then I’ll look up and see what they’re saying about my solo record or something like that and I’ll see a lot of good comments and it helps me get through it. It really does. This nice lady, she sent me a long Facebook message on my band page and just talked about how I got her through, and when times were hard for her she turned to my music and so that really keeps me going. Hearing things from people and seeing how much I’ve impacted other people. It’s very, very energizing and gets me right back on track if I’m in a slump. Music is definitely the thing that I think I’m supposed to do with my life. It’s been hard financially, mentally, even spiritually sometimes. Weird shit goes on and you just don’t know what to do, but at the end of the day you can look back on what you’ve done and be proud of it. Or even cringe, too.
What are some cringeworthy moments for you looking back?
Oh god, they’re everywhere (laughs). Mostly my very first band, my high school band. I can’t even listen to that whole thing. I was in a band called Five Minute Ride. We actually got pretty big. There’s a lot of kids that still know about that band. I actually got the gig to sing for Dance Gavin Dance because of my old band….So even though it was cringeworthy, it definitely opened some doors for me. You know, you’re always more critical of yourself than other people are but it really is pretty bad (laughs). I used to sing kinda low because my voice was already too high and my band was like, “Dude, you’re singin’ way too high. You need to have a lower, grittier sound.” ‘Cuz it was like, the late 90’s and we really didn’t know what was gonna be popular. It’s weird, it’s super weird (breaks out into laughter).
What about some of your favorite moments?
Oh my gosh. There are so many. That’s the cool thing about having opportunities to tour around the world. I feel like I’ve lived a couple lifetimes already. I’m 31 years old, so I’ve got plenty more to go. But I really enjoyed the last European tour that I did with A Lot Like Birds…So yeah, looking back on the memories, just being able to sightsee with my homies, you know being able to go to like the Eiffel Tower. Those are some really cool memories. I still haven’t gone to Japan. I really wanna go to Japan. I’ve got a frickin’ Totoro tattoo on my arm. I’m really, really about Miyazaki films. But looking back on it, the memories, the sightseeing, being able to hang out with my bros–priceless. It really was.
Interview condensed for clarity.
Read the full interview transcript below.
HXC: How’s Mayhem been for you so far?
Tyler Dennen: Really cool. Definitely the coolest tour we’ve ever done.
You’ve been playing a lot of new songs from your latest record, The Lovers//The Devil. How’s that been?
Really good. It’s definitely been an interesting and challenging experience because the music is a little bit harder to pull off live. We’re doing it every day. We practice a lot beforehand. So I’m feeling pretty confident about it.
It’s a very complex album. It has a large duality to it. Could you give us a brief explanation of that?
Well, the whole idea is that it’s a split CD–the first half being the lovers, the second half being the devil. And the music, lyrics and story are supposed to reflect upon that change. So the first half of the CD is less aggressive and more towards the melodic side. The story follows the male and female lead where the first half, the male is the lover and the female is the devil and it switches. Throughout the record that switch happens slowly until midway and then reverse. And then the devil’s side musically is supposed to be heavier and more dark sounding. Heavier, lower tuned, more drone-y kind of stuff than the first half.
And what were some of the major musical influences for the album.
I can’t speak too much on the music side of it because I didn’t write any of the music. But lyrically, inspiration for me aside from personal experience and things that I was going through, the band My Chemical Romance is always really inspirational to me. And the band Thrice.
Why did you want to utilize more clean vocals this time?
It was just something we’ve always wanted to get into. Going that route really opens you up to a much larger audience and singing is something I’d rather be doing more than screaming. So just trying to usher in that age of kind of [headed] more toward the mainstream, for lack of better terms, kind of slowly.
A lot of the lyrics have these whimsical, almost child-like rhymes that you play upon. What made you want to do that?
I thought it would be kind of cool to put some ironic twists on the lyrics and song names because it would kind of lessen how intense it really is. Kind of like make it easier to digest.
What would you say is your favorite track?
You just did a video for that as well. How was the video shoot?
It was cool. It was very, very, very last minute, but I think it came together really well.
Your first full-length, The Death Card (XIII) as well as the new one both utilize tarot cards. What’s your fascination with tarot cards?
When I came back to the band, which was before we put out The Death Card, our guitar player Zak [Gibson] and I decided that it would be cool to go down the route with tarot cards because we really liked the imagery on them, the art on them, and the fact that the meanings behind them aren’t necessarily verbatim. You can kind of take what you want from it, which is something I really try to strive for with our music.
If you could be any tarot card, what would you be?
I would definitely be The Fool. That’s kind of what I was looking at for the next CD.
What kind of musical directions are you thinking of going in for your next record?
Not a fucking clue.
Do you think it’s going to be a concept again?
I kind of want to steer away from conceptual records, to be honest with you. I don’t feel like I really know what I’m doing enough as a person who’s trying to convey a story and write lyrics. I don’t think I have the correct rhetoric to be able to really solidly put down a story out there. So I think I’d rather take myself a little bit less seriously and just get what’s in my heart and chest out, rather than being stuck to the guideline of a story.
What would happen if the zombie apocalypse happened right now? How far would you guys make it?
My band? [Laughs] We would die pretty damn quick.
What would your weapon of choice on this bus be?
[Picks up free weight] Throw one, then run away.
How would you describe your genre? You guys are kind of all over the place, in a really cool way.
I would say emotional more than anything. I don’t wanna say ‘emo’ because we’re not like that, but my main prerogative in this band is to get people to feel something. When it comes down to the lyrics and the music I think all we’re trying to do is put emotion into something tangible. So that would probably be the genre, I would say. Emotional.
Out of all the bands on Mayhem Fest, who’s been your favorite to watch?
I love watching Thy Art Is Murder. We love those guys.
If you could bring one record with you on a deserted island, what would it be?
I’d probably say Vheissu by Thrice.
So what exactly have you guys “sworn in” to?
Doing this. Travelling and doing music, I guess that’s the only thing. And we’ve got a bunch of contracts so I guess that’s kind of like being sworn in.
Where’s your favorite place you’ve played so far?
I really, really like playing all of the west coast—California, Washington, Oregon. I also really like Louisville, Kentucky and Texas is always great, too.
If you could describe your time on Mayhem in one word, what would it be?
Interview by Natasha (a.k.a. Mascot) Van Duser
This band has been around for a little while. However, despite their more poppy hooks, catchy choruses, and semi-campy image, the dark aesthetic that Fearless Vampire Killers uphold makes room for a more contemporary and heavier vibe that we may have one day received from the likes of My Chem (R.I.P.), were they still around. Today, however, Fearless Vampire Killers dropped a brand new song titled “Braindead” that is completely worth checking out. Not only does it prove that the emo revival from back in 2012 is still alive and kicking, it’s also a pretty great song that displays exactly how Fearless Vampire Killers have evolved and matured from their first releases. So grab some garlic, a wooden stake, and maybe some cautionary holy water and check out this phenomenal new track by FVK. Be prepared, this single, along with one other track, officially drops August 21st. Get ready! Vamps are coming.
Once a month, in the epicenter of hipster culture in Los Angeles, the Echoplex opens its doors for Taking Back Tuesday—a night that brings every “emo” kid together to listen to their favorite 2000-2006 jams. A group of DJs spin their favorite emo tunes and a special guest DJ usually plays later in the evening; everyone from members of Senses Fail to Blink-182 have played a set. So this June, two friends and I caked on the eyeliner, pulled on our band t-shirts, and headed into Silverlake to see what Taking Back Tuesday (or #EmoNightLA, as it’s also known) was all about.
The Echoplex, as a venue, has seen rock stars of all types, including The Rolling Stones, Beck, NIN, and The Mars Volta. It’s a small venue (capacity caps at 700) and it has that rock ’n’ roll smell of stale beer and deodorants mingling together. Taking Back Tuesday looked like every My Chemical Romance concert I went to over the last decade. But even more importantly, it felt like every My Chemical Romance, every Taking Back Sunday, every Blink 182 concert I’ve ever attended. All these people, men and women with varying degrees of dyed hair and tattoos, came together to celebrate this music and what it does for them.
This is music that grabs hold of someone and sticks to them like sap on a car windshield. No matter how hard you scrape, this shit is on you. It pulled me into a strange time warp, where it didn’t matter that no one was playing an instrument on stage because I felt like I was back at my first concert. It took me back an entire decade, back well before this kind of music was popular—back to a time when I got shit for being an emo kid.
When emo first gained popularity in the early 2000s, the word was widely used derisively. People used it to put down the music and the people who identified with it. Being an emo kid was almost like wearing a target to school that said “I FEEL MY FEELINGS HARDCORE,” giving other insecure middle and high school kids the opportunity to pick on them.
Once I got to the Echoplex and saw the enthusiastic crowd and the excitement, however, I realized things have since shifted. Now, emo kids—or former emo kids who like to dabble in the culture—have taken back the word. There was a feeling in the room, which was amplified by the DJs, that being an emo kid is cool now. The DJs asked, “How are all you emo kids doing tonight?” to which they got an uproarious response from the crowd. No one felt picked on or shamed for being there. It was about celebrating the music and the culture associated with it.
If you look closely at actual lyrics, it’s easy to see why these bands resonate so strongly with confused adolescents (and struggling 20somethings). In the My Chemical Romance song “Thank You For The Venom,” frontman Gerard Way croons, “You’ll never make me leave/ I’ll wear this on my sleeve/ Give me a reason to believe.” Lost, lonely, and searching for anyone to understand, these lyrics hit close to home for emo kids everywhere. The universal feeling of being misunderstood doesn’t go away entirely when you grow up. People will always misunderstand and overlook and be sort of shitty. You’ll always have to deal with that, and finding a healthy way to channel those feelings constructively, like with music, will always be important.
The feeling emo music gives me is one of acceptance and recognition; like someone turned to me in a moment of my own intense weakness and said, “I get it, this sucks, but you’ve got to stay strong.” That was the feeling that washed over me, like a warm shower, the moment I stepped into the #EmoNightLA crowd. It felt like I had found an old pair of Vans, well worn and held together by colored duck tape, that slipped on like no time had passed. It was like stepping back into my skin.
People jumped, bopped, and moshed to Sum 41, Taking Back Sunday, and Brand New. The moment the opening lyrics of “Fat Lip” blared from the speakers, (“Storming through the party like my name is El Niño/ When I’m hangin’ out drinking in the back of an El Camino/ As a kid, I was a skid and no one knew me by name/ I trashed my own house party cause nobody came”) 300 screaming attendees pushed forward and a mosh pit appeared like a sink hole, pulling in bodies from every direction. The songs that amped up the crowd most were songs about rebellion and being misunderstood, eliciting instant recognition and nostalgic joy.
Emo Night at the Echoplex gives people who never stopped being emo a place to jam together; a place to scream, jump, and enjoy the music that has become part of their soul. It’s a place where the year is 2006, and you’re watching the best damned Warped Tour of your entire life. The fact that this still exists, a decade later, is a testament to how much this music and this community still care. If every night could be Emo Night, then you would know where to find me: Jamming in Silverlake with a bunch of fucking emo kids.
EMO NIGHT IS THE FIRST TUESDAY OF EVERY MONTH
FOLLOW THEM ON TWITTER: https://twitter.com/emonightLA
by Maria Spiridigliozzi
The following is the first interview in our ongoing serial “Women of Hardcore.” For more from the serial click here.
After a morning of speaking on panel, loitering in empty bars themed after literary eccentrics Oscar Wilde and H.P. Lovecraft, and meeting with an artist for a friend’s tattoo consultation, I remember it’s almost time for my interview with Katie Cole, drummer of Ohio band Dangerkids. Stranded in the lower east side of perhaps the loudest city in the world, I try to find a quiet place. The bar I end up in is playing music and has no service. Turning the corner, I cubby myself in the frame of the backdoor to protect Cole’s answers from the wind. There, she tells me all about the upcoming Dangerkids record, the band’s recent tour in Europe, and how to laugh it off when dudes think you’re the drum tech and not the drummer.
First thing’s first, I apologize for New York City’s screeches. “It’s okay,” she assures me, “I was just in the weirdest place ever. I was trying to find a quiet place too. I went into this coffeehouse; it was so loud and no one spoke English.”
“Where are you?”
Though the drummer is back at home, she and her bandmates recently ended their European tour–where you’d actually expect a coffeehouse to be filled with non-English speakers.
“What was your favorite place you visited?”
“Scotland. Just ‘cuz everyone there’s crazy. They just like to party and have fun.”
Anyone who has heard Dangerkids’ debut record, Collapse, knows that fun is a big part of the band’s M.O. I tell her how the first time I saw the Rise Records band, they were opening for We Came As Romans in NYC. We all know that opening bands can be pretty insufferable, but Dangerkids were so assured and animated they nearly stole the show. It’s a refreshing change of attitude in a scene where bands can take themselves too seriously.
“I get excited to play any time,” she says, “so I smile the whole time. We all get really pumped.”
“During that night’s set over a year ago, Tyler (Smyth, M.C.) said something between sets about not letting anyone tell you you can’t do something, especially because of your gender. Do you have any personal experience with that?”
“I honestly don’t get as much hate as I ever expected to,” she admits. “Obviously there are some people who will judge you or think you’re not gonna be good at what you’re doing because you’re a girl, but I don’t see it too much. Most people who hate the most on it have never even listened to us or haven’t even seen us play. I feel like after people watch us they don’t tend to hate on it as much. A lot of people think it might be a gimmick or something like that, but they tend to respect it after we play.”
I share with her that when I go up to band members after shows, sometimes guys automatically assume I’m a groupie.
“Yeah, God I hate that! No, that’s so crazy. I’ve seen that so many times and it makes me so angry. People always think that I’m doing merch or that I’m a drum tech or something. That was the funniest thing. We played this show and I was sitting on my drums, about to play, and one of the sound guys on stage was getting so angry. He was just like, ‘Where’s the drummer?!’ And I’m like, ‘I’m the drummer. I’m setting up my stuff…’
“He didn’t even know you were in the band?”
“Exactly. No one ever thinks that when I’m setting up my drums. They’re just like ‘Oh, she’s just setting them up.’
“That’s kind of cool though, on the other end of it, because you get to surprise them.”
“Yeah. I don’t let it bother me. I think it’s funny.”
“That’s a good attitude to have about it.”
“Yeah, you should be that way too.”
Interrupting the interview, an old, unshaven man hobbles by and stops to talk to me about some nonsense. I point to the phone. He keeps talking until finally, my frantic hand motions are enough to shoo him away. I return to Cole in my ear, talking about playing Rock On The Range on May 15th. “Other than that [we’re] just finishing the album,” she says. “Once we get that done we’ll be able to play a lot more shows.”
“What can you tell me about the new album?”
“I really really love it. I love the direction that it’s going. It just sounds more like Dangerkids. We’re developing into our own style. There’s a lot more radio rock, a little bit less screaming. But it’s really cool, I feel like anyone can get into it.”
“What was one of your favorite songs off your first record?”
“One of my favorites is ‘Cut Me Out.’ That’s one that a lot of people don’t really know; it’s not one of our big singles. I really like that one, it’s really fun to play on drums. ‘We’re All In Danger’ is probably my favorite to play on drums because it’s so fast—it’s exhausting.”
“I know you said the new record is going be more radio rock, but is it still going to be that fast-paced vibe that we got from the first album? Or is it gonna be totally different?”
“There are a couple heavy ones that if you’re into heavy music you’ll be like (she cheers). There’s also a couple really fast songs. We actually opened with one of them when we were in Europe. So it’s got a lot of similar stuff as the first record. I think anyone that liked that record will definitely love this next record.”
Wrapped in what she’s saying, I hardly pay any mind when someone bursts through the backdoor I’ve been sheltering in and slams my body off onto the sidewalk. It’s also warm enough outside that the ice cream trucks are on patrol and sounding their creepy songs down the street. Note to journalists: Avoid this situation at all costs.
With a finger in one ear I concentrate on Cole with the other as she begins to tell me more about her touring experiences.
“Our first tour was with Sleeping With Sirens. The first show—I think it was in Atlanta; it was at the Masquerade—we went on and in the middle of our first song [“Countdown”] the track cut out. It ended up being okay, but it’s always really scary when that stuff happens.”
“Who are your favorite bands to tour with?”
“Sleeping With Sirens is really fun to tour with. I really like We Came As Romans. We toured with Silverstein too which I thought was really cool ‘cuz that’s one of the bands that I used to listen to all the time.”
She pauses, then adds, “I don’t really listen to a lot of heavier bands. I’ll check them out and I like it, but I usually listen to pop and emo music from back in the day.”
“What other bands do you listen to from back then?”
“I love The Used; they were one of my favorites. I was obsessed with Green Day when I was younger; they got me into everything. Taking Back Sunday…any band like that. But The Used is definitely my favorite. I love Underoath too, they were great.”
We bond over the importance of Underoath for a minute. “Aaron Gillespie is my favorite drummer,” she says. “I really looked up to him for a long time and he kind of helped my style develop. He just plays interesting things. I’ve never seen someone play the types of beats that he plays, and he has so much energy live. He’s really fun to watch.”
“Favorite Underoath song?”
She goes with the anthem, “Reinventing Your Exit.”
“How would you describe Dangerkids in one word?”
Cole struggles for a moment. Finally, she comes to an answer. “Motivational,” she chooses. “A lot of our songs are about getting through tough times. It’s crazy how music can do that. I’ve always really liked sad music and film scores. If I’m ever feeling down, I listen to that kind of stuff because you just feel it so much. If I’m not doing that I’ll listen to Kesha.”
“People always take very different views of the saying ‘Music saved my life.’ Where do you stand on that?”
“I feel like my whole life basically revolves around music. If it wasn’t for music I wouldn’t be playing drums, or be in a band, or doing anything that I love, really. I’ve always loved to be able to travel and play for people. I don’t know what I would do if I didn’t have music. So I think that’s definitely true for me. I think it’s true for everyone in the band.”
Before hanging up, she turns back to the film score question and divulges that her favorite soundtracks are from Titanic and Forest Gump. Last words? “Hans Zimmer is dope.”
Expect the release of Dangerkids’ sophomore full-length record sometime this summer.
The point of emo is that it rubs you slightly the wrong way. The point of pop punk is to have a good time. Combine the two seemingly antithetical genres and you’ve got Short Stories, a San Diego band who are as emotionally grating as they are uplifting. It’s an odd mixture that at first can sound like water and vinegar but ends up working out like PB&J. Vocals that tend to sound more like angsty, off-tone confessional poetry a-la-Taking Back Sunday and major tonalities that meet up with rapid percussive sounds like that of Blink-182 make Short Stories’ Only Time Will Tell a must listen. It’s 2003 nostalgia with a 2015 twist. The so-called “Emo Revival” is here.
Top Tracks: “A Long Time Coming”; “Fortune Teller”