The News Review:

- Brutal Legend: Battle f The Bands’ With Axes’ Real Axes
- GREAPHBIA To Film MAY METAL MASSACRE Performance For Upcoming …
- Her Walls Were Alive With the Sound of Music
- Soul Train

Brutal Legend: Battle f The Bands’ With Axes’ Real Axes
Kotaku Australia
I continue to be surprised at just how well heavy metal and game design seem to go hand-in-hand. But maybe that’s because both at their best are willing to throw the rules out the window to try and create something different and powerful. Schafer says that he was drawn to this idea because he ’s always like the power of heavy metal music and its ability to tell epic stories. In particular he likes the power of the album covers something he’s now working to turn into a living game. Those covers he told us don’t worry about what should make sense just “is it awesome looking and is it cool. ”“Can I put a gas mask on a druid” he asked.
Related from Greenjolly: Eurovision axes ‘anti-Putin’ song

GREAPHBIA To Film MAY METAL MASSACRE Performance For Upcoming …
Blabbermouth.net
“At the height of the late 1980s the thrash and death metal underground was headed toward a new and exciting change when a Philadelphia-based extreme darkened death metal entity named GREAPHBIA was born. Alex and Chris had the same interest in extreme underground metal music. GREAPHBIA has shared the stage with countless well-known and respected metal acts such as MRBID ANGEL NCTURNUS SEPULTURA NAPALM DEATH CARCASS REPULSIN AUTPSY DEATH ENTMBED and UNLEASHED. With only one demo and a 7″ EP released by Relapse Records in 1991 named “men of Masochism” GREAPHBIA embarked on a large North American tour as the support act for New York death metal masters IMMLATIN in the summer of 1992. Approximately one year later the bandmembers decided to go seaprate ways and continue on to new ventures and other side projects.

Her Walls Were Alive With the Sound of Music
New York Times
When that didn’t work I brought up the subject of earplugs at brunch with friends. Did anyone know if they’re effective? Is there a type that works best? No and not really as it turns out. So what to do now that the same sounds that beckoned me here haunt me and threaten the sanity I so desperately need to make it in these hard times? Even at my most disenchanted I just can’t bring myself to abandon that romantic notion that he and I might coexist that his music might one day be a catalyst rather than a constraint that we are fellow artists; that this is after all the fabled Greenwich Village. And how can I have a freewheelin’ time if I rat out my little opera man? So I won’t be complaining to the landlord. But he’s still tapping away in there — on a Sunday — and I just had to complain to somebody.

Soul Train
New York Times
At 14th Street is a young guy down on the platform between the express and the local. He sits on one plastic bucket and uses his drumsticks on three others. Fast and dexterous he gets into a long complicated rising crescendo drumming on the buckets the metal trash can the pavement. He’s dazzling he’s brilliant. We don’t care. He’s too loud. Everyone hears him but no one looks at him.