HRH Mag Issue XVIII - November 2022

GATES OF HELL JOE LYNN TURNER CHRISTONE KINGFISH INGRAM BASTETTE THIEVES OF LIBERTY ZAKK WYLDE WALTER TROUT H.E.A.T. TROY REDFERN TWISTER FORGOTTEN SONS VLAD IN TEARS SCOTT IAN DELILAH BON JOANNE SHAW TAYLOR CHARLOTTE WESSELS

JOHN PAYNE NIGHTBLADE HUGH CORNWELL MASSIVE WAGONS LOZ CAMPBELL

06 Skid Row

Viki’s Gates of Hell

10. Crowley

12. Kira Mac

14. Pure Assassains

15. Space Elevator

16. Our Propaganda

HRH Mag Meets Troy Redfern

Grrl Power with Delilah Bon

Joanne Shaw Taylor

Charlotte Wessels

Scott Ian

Vlad In Tears

John Payne 36 Twister

HRH Sleaze V Photo Gallery

Bastette

Thieves of Liberty

Zakk Wylde

Nightblade

Massive Wagons

Marco Mendoza

Prince Bishop

58 Forgotten Sons 60 Christone Kingfish Ingram 64 Joe Lynn Turner 66 Walter Trout 68 Live Reviews - 68. The Mercury Riots - 69. Elvana - 70. Steve Hackett - 71. Cardinal Black with Laura Evans - 72. Uriah Heep - 74. Delilah Bon 76 Loz Campbell 78 Album Reviews Prince Bishop | Bad Luck Friday | Candlemass | Diamond Head | David Longdon | Erja Lyytinen | Eva Under Fire | Fear Factory | Forgotten Sons | Nightblade | Hugh Cornwell | Joe Lynn Turner | Lacuna Coil | Nickelback | Outlaw Orchestra | Robert Jon and The Wreck | Rory Gallagher | The Common ers | The Pretty Reckless | Rebecca Downes | Troy Redfern | Tyler Bryant & The Shinedown | Venom Inc. | Vlad In Tears | Wednesday 13 90 Hugh Cornwell 92 H.E.A.T. 93 Dark Circle Interview

Welcome to volume XvIII

Well, here we are at HRH 15. What a milestone achievement. It’s always a joy to return to Sunny Great Yarmouth. And although the summer weather may now be in our rearview mirror, we are sure that this weekend’s line-up will bring the heat.

Speaking of H.E.A.T, in this instalment of HRH Mag, we catch up with Kenny Leckremo to find out a bit about the band’s new album. Furthermore, our very own GlamRat chats with headliners Skid Row and their former H.E.A.T frontman Erik Gronwall.

My Geordie comrade Viki Ridley brings you the best of the emerging rock scene with the likes of Kira Mac and Newcastle’s own Crowley featuring. Whilst our master lensman Si Dunkerley brings you all the action from HRH Sleaze in Sheffield.

What’s more, as always, we’ve got exclusive interviews with the likes of Zakk Wylde, Anthrax’s Scott Ian, Joe Lynn Turner, Hugh Cornwell, Joanne Shaw Taylor, Bastette, Twister and a whole lot more.

On a side note, as the new Editor of HRH Mag, I would like to thank Toby Winch for all his efforts with the magazine during recent years. It was a pleasure to work alongside Toby as Sub Editor, and I’m excited to be stepping into this wonderful role moving forward. Thank you also to my amazing and very professional team for all their efforts thus far. Onwards and upwards we go.

Finally, if you see me around in Great Yarmouth during the festival weekend, do say hi. We hope you all have an amazing time at HRH 15 - it’s going to be one Hell of a weekend.

Chief Editor of HRH Mag November 2022

Cheers Adam Kennedy

THE FRONT

FRONT ROW

With multi-platinum selling albums, worldwide sta dium tours and Billboard Hot 100 charting singles, Skid Row needs no introduction. Starting in New Jersey in 1986, it’s been one hell of a ride to the top with a few line-up changes in between. The guys have found their ultimate frontman in Swedish singer/songwriter Erik Gronwall. HRH Mag’s GlamRat was lucky enough to grab Erik for a rare down day in be tween touring across America for a quick catch-up.

Hi Erik - how are you doing? You’ve got a show in Reno soon, right?

I’m in Nashville right now so it’s 11:30 am. We’ve got one show in Reno on Friday and then I’m flying back to Sweden and spending a couple of days there. Then back to the states again and then back to Europe again, (laughs) it’s a lot of travelling back and forth.

You have been so busy left right and centre. The last time we chatted you liked to unwind with martial arts and books, do you get time to do those things still in between flying around the globe?

It’s hard to keep up with the martial arts when we’re touring, it’s really hard to keep up with and it’s some thing I really miss. For reading, I’ve downloaded an app so I can keep up. I do listen to a lot of books now because I like to get into a good mindset, learn new things but sitting down and reading a book… it has been a while.

Skid Row are coming over in October, starting your UK tour at KK Steel Mill on 19th October and ending in Norwich on 18th November. You haven’t been to the UK in a long time, as in yourself not just the band?

I know I know! God, I think it was when H.E.A.T opened for Skid Row in 2018, that’s pretty incredible! I never thought about that (sigh)

I love the UK! I had such a great time there and got so incredibly drunk (laughs).

Yeah, we like a good drink over here!

You guys never stop!

There is no point in stopping, or you will get a hang over.

Exactly! Just keep drinking!

You are playing at Hard Rock Hell 15 on 4th Novem ber!

Yes, we are, you know the schedule better than I do (laughs). We have so many shows in the UK mainly because even for H.E.A.T, not just Skid Row. We (I) have so many great fans and a loyal following in the UK, it’s a great support!

Skid Row are here for a whole month with a gig al most every other day, that’s pretty intense.

Yeah, we wanted to keep it that way especially since we’re releasing the new album, do as much as possi ble and make sure people have the chance to hear it live. It’s an intense month but it is all well-planned.

You’ve always said Skid Row was one of your fa vourite bands, so for you to then be recording in the same room with your idols and performing on stage with them, how has that been for you?

I’m still processing it (laughs). Everything happened so fast! I was on stage, as the singer of Skid Row, 6 months after my bone marrow transplant, after my leukaemia!

I can’t believe we actually did that, but it was one of the moments, you can’t say no to. I had to do it! Obvi ously, my health comes first.

The fans have been really accepting. Many fans (including myself) across the world know you from H.E.A.T (among other things) and we know your vocal capability, but for American fans, you were quite new to them.

Do you feel like the fans have accepted you?

Absolutely! You will always have people who want the original lineup, and I totally get that and respected it. I have certain bands that I think, oh it would be cool to have the original lineup. Having people so interested in the band and talking about the band, it’s a privilege that many bands would kill or die for. I realise people come to the shows and expect to see the original lineup after 30 years and I see that when I come out on stage. Those people are really listening and observing, it takes like two songs before I get them. Then they relax and enjoy the show more. The more songs we do, the more relaxed fans become.

You have the new album coming out on 14th Octo ber, do you have a particular song that you think, yeah, I’ve nailed it there?

One of my favourites is “Not Dead Yet”, that’s a great old school classic Skid Row song, I love singing it! It was one of the songs I had an easy time with. I knew exactly what I wanted to do with it. I recorded it in a day. The more challenging song that I think is a great song is “October Song”, it was hard for me because you must keep it dynamic, telling a story, and keep ing it interesting for the listener as it is 7 minutes long. It was challenging but I am happy with the result. I redid it a couple of times, a few weeks to record it, to be honest, whereas “Not Dead Yet” took

me a day.

What are you going to do once this tour is over? Are you going to go on vacation, spend a bit more time at home or are you going to keep this train rolling? What do you think you need to do?

We have January, February, and March - our first gig in the new year isn’t until March. I’m just going to go home, spend time with the family and then we’re going to keep going. The album will be out, so we’re going to do more shows. Just keep going, but I need a small vacation.

Is there anything you would like to say to your fans in the UK?

Oh, hell yeah! I always have a good time in the UK! I want to thank you all for your support! Especially since my second show with H.E.A.T was in the UK at Firefest, and you guys have been supportive since that day. I love just drinking beer with you guys and coming back with Skid Row is going to be even more incredible. It’s next level, looking forward to seeing you guys.

I would like to say tack så mycket Varsågod!

We look forward to seeing you in October and November! Erik is on tour with Skid Row in the UK starting the 18th of October through to the 18th November. The new album The Gang’s All Here is available from 14th October. Catch Skid Row at HRH 15 on 4th November 2022.

Words: Charlotte Simpkin

Photo Credit: Jenny Risher Cover Photo: Chuck Arlund

GATES OF HELL Vikis

Photo Credit: Adam Kennedy

CROWLEY

Photo Credit: Emilia Drag

PURE ASSASSINS

From Meeting at University in Manchester, to Forming a Hard Rock Group!

Who are you?

Pure Assassins, is really a musical pseu donym used by me (Chris Rush) and a previously rotating live line-up. Think Soundgarden meets Radiohead at Josh Homme’s BBQ!

Roll Call?

Me (Chris Rush) – Lead vox, guitars, bass and sometimes instruments with keys.

Tom Hooper – Drums and percussion, deep and low backing vocals, sort of like Ginger Baker singing the odd Barry White track. Pablo Uccellatore – South American lowend groove and video production.

Paul Fox – Keys, chirping Backing vocals like a little robin fresh out of its nest.

For the past 4-5 years I’ve been exclusively working with long-time friend Tom Hooper who provides the engine room for Pure Assassins progressive alt-rock sounds.

About 3 years ago I met Pablo Uccellatore on a musician’s ‘dating site’ and he’s also become part of the recording side of Pure Assassins replacing at least half of my bass lines on the forthcoming ‘Questions’ album. Fox is a long-time friend of mine; we were nearly family and we’ve been in a band before Pure Assassins. We some times collaborate on lyrics.

Hailing from?

Mostly from down South. Chris is from Bournemouth; Fox is from the New Forest (where Foxes should be) and Pablo is from Argentina via Winchester. Tom keeps us connected to the pulse in London.

Journey so far?

My musical journey started as one half of Drum n Bass duo, Calyx, back in the 90s. Having achieved multiple airplays on sta tions like Radio One, Kiss FM, touring U.K. and Europe life took a different non-musi cal turn for a while.

I started Pure Assassins back in 2007 and have been steadily releasing alt-rock EPs and singles ever since, gaining play on various radio stations (including Planet Rock and BBC) and playing a fair number of crusty gigs along the way.

The new album ‘Questions’ started when I had a close to complete download of the title track on a dog walk, no UFOs were spotted during this process. The album was written and recorded over 2021, main ly as a solo venture, but with some remote collaboration with Tom Hooper on drums using some software voodoo that allowed us to work in near real-time remotely. Pab lo Uccellotore replayed bass on over half the album. I also worked remotely with some brass musicians and a small gospel choir. Working out the parts for the gospel choir was interesting, it took a couple of goes before they could understand what I was getting at, my failings not theirs. The result is epic though.

Influences/sound?

Like most bands, there are tons. Sound garden, Queens of the Stone Age, Beck, BRMC, Radiohead, The Black Crowes, Death from Above to Drum n Bass artists like Dillinja, Optical. When I write, I try and

allow whatever vibes or styles I’m feeling to come through and I won’t think twice about mixing electronic styles with rock and even throwing in a Gospel choir or Tuba solo if it feels right! The main thing is to try to create something that excites me and doesn’t sound much like stuff that’s already out there, we’ve got that already!

Biggest gig/proudest moment to date?

My proudest moment is probably being played by John Peel back in the 90s when I was making Drum n Bass as part of Calyx, also Grooverider on Radio One for the first time was great. We did some pretty great gigs touring Europe and playing big clubs in London, it was just a buzz to be making a living from music and being part of such a cutting-edge music form. I’ve always felt some of the dark/heavy Drum n Bass has a lot in common with the energy of Rock music.

What does the future hold for Pure Assas sins?

Firstly, the release of our new album –‘Questions’. I’m so pleased with how this album has turned out and can’t wait for it to connect with people. We’re also really excited to get out gigging again with this new album and about 5 previous singles that still haven’t been played live yet. It’s been fun improving my mixing and improving the approach to releasing new music but it’s time to see some audiences get messy!

Questions’ by Pure Assassins is out now

Photo Credit: Ben Stoney

SPACE ELEVATOR

From Buckinghamshire and Oxfordshire - Rock and Roll!

Who are you?

We’re Space Elevator. We believe the music should go stratospheric but don’t want to be limited to just taking over the world and its surrounding atmosphere so why not pick something that even reaches out to alien life forms?! Our first album ran with the space theme slightly with songs like Gallifrey Dreams, a ballad that explores the tricky aspects of being infatuated with a Time Lord what with his two hearts and all that, and also, We Can Fly. We’re not really space nerds though. We write songs about everything, from Chantelle and Ziggy in Big Brother 8, the Irish sexfest, Normal People, Georgian ghosts, and Meghan Markle!

Roll Call?

David - David sold his soul to the devil to play guitar solos to make a grown man weep, Duchess - Vocal powerhouse and Jagger swagger, Brian - The thinking woman’s Manu Katché if Manu Katché had patter like a 70s Saturday Night entertain ment host, Chas Maguire - If you fused the bass dexterity of Duff McKagen with Nor man Watt-Roy and zipped it into a Dermot O’Leary wearing motobike leathers - you’d get Chas, Mike Bramwell - Our keyboard player on gigs, with us as the latest album is packed full of his exquisite flourish.

Journey So Far?

David and Brian were school mates who stumbled into a band with Stuart Copeland’s ex missus Sonja Kristina. David also did the odd bit of writing with Duchess including a shock-rock musical based on a high-school serial killer. Space Elevator originally had Whitesnake legend Neil Murray on bass and obviously that did get people talking (if to start with in a slightly confused way - Classic Rock were “flabbergasted”.) Our first gig at the 100 Club was a sell-out and David Coverdale

tweeted Duchess to send his best to “Mrs Murray’s finest”. Neil proved to be a busy and in-demand guy, so Chas Maguire filled those esteemed boots very capably for the second album which went Top 30 in the rock charts and Top 16 in the indie charts.

The Space Elevator trajectory has taken us on some very interesting detours includ ing teaming up with Thoth, a Canadian company who are building the first Space Elevator. The ThothX tower will reach 20 kilometres above Earth with hotels and an observation deck. Space planes will take off in a single stage to low Earth orbit and return to a rooftop runway for refuel ling. Thoth use our song Elevator in their promotion, and we recorded a video for We Can Fly on their own personal satellite dish in Algonquin Park in Canada. If that’s not rock and roll, we don’t know what is!

2020 saw us poised to start a European tour with rock royalty Russ Ballard but Covid scuppered that. Lockdown meant that our third album was recorded almost completely remotely. Somehow it seemed to creatively free us up and Persona Non Grata is definitely our most ambitious and best album to date. It feels like now we’re emerging back into the world fully formed like a butterfly from the cocoon. We can’t wait for everyone to hear the album, get on the road, and gig the new songs.

Influences/sound?

A veritable smorgasbord (they said, des perately trying to avoid “melting pot.”). A big old chunk of Queen for the theatrical elements, the writing both on piano and guitar but also the eclecticism. Queen in themselves are so diverse in their influ ences, hence how long it took them to be taken seriously as a rock band. David is the world’s biggest Kiss fan so he’s not afraid of going over the top. Also influences of

Biggest gig/proudest moment to date?

Recording a song (“Queen For a Day” from Space Elevator II) with the great Mike Moran who wrote Barcelona with Freddie Mercury was quite a moment. He was a big Freddie collaborator and brought that into his interpretation of the song. After filming a live performance of him and Duchess at the piano he played us an unreleased (at the time) recording of Freddie singing Time Waits For No One. To hear that voice accompanied just by Mike’s piano blasting out the speakers was truly spine-tingling.

Our performance on the satellite dish in Canada for the We Can Fly video was pretty special too. The Duchess climbed all the way up the focus cabin on the very top of the dish and had drones flying round filming her at a range of 3 and 6 thousand feet. The results were spectacular. The plan is to broadcast a live gig from the dish at some point and of course when the Space Elevator itself is constructed we’ll be there at the opening. First band in Space? Very possibly!

What does the future hold for Space Elevator?

We really believe Persona Non Grata takes us up another several few levels from Space Elevator II. All the response it’s getting so far is positive so it’s a case of reaching a wider audience and getting out there and playing. We’re itching to gig and especial ly with Mike joining us on keys now, we’ll sound bigger than ever. Another European tour was pulled this year due to venues still catching up with a backlog after covid. We have a UK tour starting in June and looking at more dates in October.

Genesis, It Bites, Kate Bush, Alice Cooper, Thin Lizzy and a dash of Fleetwood Mac.

Photo Credit: Press/Supplied

OUR PROPAGANDA

Who are you?

We’re Our Propaganda, an alt-rock quartet (soon to be quintet) from the breakwa ter towns of Southern England. Formed from the ashes of many a local band, we came together to prove that Britain still has something to say. Both musically and lyrically.

Roll Call?

Jack

Hailing from?

As brothers, Jack and Charlie grew up in Southampton. Harvey hails from Southsea whilst Joe comes from across the water in Gosport. Mike originally hails from Boston, MA. He now resides in the sleepy Soton suburb of Chandler’s Ford. We base our selves out of ‘The Garden Shed’ where the walls are surprisingly still standing.

Journey so far?

It was Charlie who first came up with the moniker ‘Our Propaganda’. We were sat around in a break from rehearsals discuss ing potentials when Charlie finally turned to us and said, ‘You know guys, our music is sort of like our propaganda’ and the name just stuck. We felt it captured what we were trying to say perfectly. Since working with our manager Steve Weltman and the release of our debut EP in 2016, we’ve played countless shows across the UK, Europe, and Asia. It’s been an incredi ble journey so far and the experience has helped us hone our craft. Most of all, it’s brought us together as a brotherhood and we’ve had the most fun in each other’s company. The biggest turning point for us, came with the writing and recording of our debut album. Working with Steve Lyon (Depeche Mode/The Cure) and Mark Long (of Opposition fame) was the most

rewarding recording experience of our lives. It finally cemented our signature sound and has created a benchmark for everything we’ve gone on to do. Steve and Mark encouraged us to organically expand our sound and experiment with new ideas and this record is proof of their success.

Finishing off the debut album with two songs recorded with Grammy nominated producer Jonas Westling we finally had an album we were satisfied with. It really is a collection of our experiences up until this point. We learned a lot in a short space of time, and it made us even hungrier to make more records. So, in late 2019 we set in motion plans to release our first record. Starting with ‘Fast Food at Midnight’, we put on our biggest show at Southampton’s own 1865 which we captured in the video for FFAM.

However, 2020 happened and the global news was only focused on one thing. We kept ourselves motivated, we live streamed weekly and campaigned for many char ities, including War Child and The Music Venue Trust. We weren’t prepared to let it stop everything we’d been working towards. We pushed on and ended up the better for it, it gave us time to reconvene and put in place a plan to make a splash with our debut record. From what’s been happening so far, we really feel like it’s paying off.

Last year saw the release of our first sin gles digitally, our first music video and the first reactions to our best material yet. ‘My Ghosts’ came in January of this year and was our first dive into creating a conceptu al video, something we’re all really proud of. 2022 we’re already seeing our music being picked up by new audiences the world over. With the fresh addition of Mike on the keys our new songs are sounding even better than the first album.

Influences/sound?

We’ve been told we sound like everything from Kings of Leon to The Killers, The Doors to Prince. Overall, that should give you no indication whatsoever of what this band sounds like. Our influences range from modern acts such as Wolf Alice, Twenty One Pilots and Don Broco. To turn table mainstays such as Talking Heads, Fleetwood Mac and R.E.M. Our biggest influences come from our reality. The lyrics are an observation and reflection of our collective lived experience, which we’ve seen touches a nerve with our fans. It’s a voice of respectful dissidence that comes with living in generation Z England.

Biggest gig/proudest moment to date?

Last year, we had the opportunity of playing the legendary Isle of Wight festival which was a triumph for us. We were asked to perform acoustically on Gibson’s Artist Village stage which was massive for us. We went down a storm with the Gibson team, plus we got to try out some of their unreleased acoustics. We then played to a large audience on the River Stage where it was great to see the crowd getting into our music, we will remember it for a long time. Our new releases have been getting rave reviews! Especially ‘Essential Love’ which was lauded in both UK and U.S. publications. Not to mention the number of views our two music videos have racked up! One we can’t wait to build on!

What does the future hold for Our Propaganda?

Our ambitions are big, and we think any thing can happen if we put the hard work in. We’ve created a milestone with the upcoming release of our debut album that we can’t wait to surpass. So, the future is wide open (As Tom Petty once said) and you can rest assured that it will be filled with new records, live shows, and plenty more Our Propaganda.

Denton – Lead vocals/Rhythm guitar, Joe Newman – Bassist/Acoustic Guitar Harvey Groom – Lead Guitar Charlie Denton – Drums and Percussion Mike Gilham – Keyboard Warrior

‘Fast Food At Midnight’ will be available on all digital platforms, as of Thursday 13th October, 2022

Photo Credit:

SWEET SALVATION

HRH MAG MEETS TROY REDFERN

There’s only one word to describe Troy Redfern’s output during the pandemic era and that is prolific. The fedora-wearing blues rocker released several albums during lockdown, culminating in last year’s critically acclaimed release The Fire Cosmic. The latter led to a whole raft of touring for the British artist, including shows with The Quireboys, Robert Jon and the Wreck, When Rivers Meet and The Sweet, to name but a few.

You might think that with such a gruelling touring schedule, how would Redfern find the time to write and record a new album? Thankfully for his fans he did, and that comes in the form of The Wings of Salvation. The latter is ar guably Troy’s best album to date. And what’s more, it was completed in record time. “We gave ourselves a release date of when we need ed to start the album campaign, which was three months before the album was going to drop. And that left us two months to write the album from scratch,” explains Red fern. “I think we had everything finished and recorded - not mixed but recorded, in just over four weeks; it was into the fifth week. The mixed stage took about three weeks to get that done. Yeah, it was super quick.” Of course, working to strict timelines is never easy. “It was pressure but a good pressure, creative pressure. I work better with deadlines anyway,” sums up Redfern.

The Wings of Salvation features notable drummer Paul Stewart from pop/rock group The Feeling. Stewart worked on the album

following a recommendation from producer Dave Marks (Hans Zim mer). “Dave sent Paul the dem os, and he was just amazing. He absolutely nailed it. I was in the studio when he was tracking, and he was hammering it out. He was super-efficient - just three takes, and he was done.”

The team that the artist employed for his latest offering made the whole process come together seamlessly. “All those guys that Dave works with are super versatile and just super professional, and that’s why I feel lucky to work with them. Because when you’re doing a project like this, you want to do it fast, and you want to do it well,” said Troy. “Time is money when you’re in the studio - if you get it done quickly that’s a bonus.”

The feedback towards Wings of Salvation thus far has been posi tive. “I’m shocked really because when you record something, you put all your time and energy into it, and you’re never sure how it’s going to be received. You’re in your own creative bubble when you’re making it. Then you put it out into the world, and you see what happens. But yeah, the reviews have been great. It’s been nice to get it played on the radio - it couldn’t be better,” confirmed Redfern.

The album has produced sever al stunning singles so far, which each showcase a different side of the artist’s repertoire. The recent single Sweet Carolina is a perfect example of this. “It’s a little bit different in vibe from anything I’ve

done before,” said Troy. “We’ve played it live a few times now and you can see people connect with that one.”

One of the highlights of the re lease is the song Gasoline. Troy had a strong idea of how he in tended to grapple with the song’s infectious guitar riff from the off. “I love playing in different time signatures, but I haven’t explored it on the last few albums, except the stuff I’ve done on Bandcamp – Thunder Moon maybe, And The Gods Came Down, and all those kinds of obscure things that I’ve done. So, I wanted to get a groove in seven/eight, and that riff just came out of me playing along with the click in seven, and then I built it on top of that riff,” explains Redfern.

Perhaps you may have seen the British blues/rocker recently on tour with Dare. “We played a cou ple of shows with them probably about three months ago at Chester live rooms and somewhere else. We did it as a duo with just me and Finn (McAuley), and that really works. I prefer doing that to the solo thing. I’ve done a lot of that now. But having a drummer with you, that makes a difference, you can get some impact,” said Troy. Looking into 2023, Redfern con cludes: “Next year I’ve got Winter’s End in February and then hopeful ly a solo tour in April/May.”

The Wings of Salvation, the new album from Troy Redfern, is out now.

Words & Photo Credit: Adam Kennedy

GRRL POWER DELILAH BON

Words & Photo Credit: Adam Kennedy

JOANNE SHAW TAYLOR NOBODY’S FOOL

Once again, Joanne Shaw Taylor is in good company on her new original studio album, Nobody’s Fool. For her latest offering, the British blues/rock artist is joined by her esteemed peers and co-producers Joe Bonamassa and Josh Smith.

When you’ve got one of the world’s most esteemed guitarists watching on from the control room, perhaps recording under the auspices of Joe Bonamassa could be a nerve-racking experi ence. “It was a little bit nervous at the beginning because it was settling into a different rhythm,” explained Joanne. “This is the first original album I’ve done with them. So obviously, you’re a bit more exposed when writing your own songs as opposed to picking covers. So that was a bit nerve-racking at the beginning.” The artist adds: “In the studio, it was a lot more comfortable.”

Of course, when you’ve got such a high calibre of guitarists on board on the album, you’ve got to utilise them where possible. “I think I made the most of them,” said Joanne. “I think I was a bit more confident this time around in asking them to play guitar parts that maybe I thought they would be better for, or rhythm parts I thought they would be better for. Obviously, having two very capable guitar players there, I utilised them.”

The album credits for Nobody’s Feel feature an array of notable guests. Many of whom are close friends and associates of Joanne Shaw Taylor. One of which is gui tarist Carmen Vandenberg from Grammy-nominated outfit Bones UK. “She’s a very close friend and a little sister to me,” said Joanne. “I reached out to her because I was in LA

and I was hoping she was there. I hadn’t seen her through all of COVID. She has an office at Sun set - the studio, so she was hang ing about every day.” Joanne adds: “She’d asked me and Joe to perform on a BB King song with her. So, we started the session with that. Then I said, well, since you’re here and your gear is here, why don’t you put down a solo on something? I picked Figure It Out, which I’d written as quite a poppy song and quite light. Then it got turned into this big sort of Pat Benatar almost punk pop song, which is not my usual forte, but of course, Carmen is very good at experimenting with pedals and coming up with stuff.”

Nobody’s Fool also concluded a full circle moment for Joanne Shaw Taylor. Having performed alongside Dave Stewart in the early stages of her career, the art ist invited the Eurythmics legend to play on a cover of the classic Missionary Man. With Joanne and Dave in LA, it seemed like the perfect opportunity to work together. “He was in town but unfortunately got COVID. He was isolating in a hotel, so I couldn’t see him. But I had mentioned that we’ve ended up doing Mission ary Man, and would you mind performing on it? It would be full circle for me. Fortunately, he said yes,” explains Joanne.

Besides co-producing the album, Joe Bonamassa plays as a fea tured artist on the song Won’t Be Fooled Again. “I think whenever you’re doing a guitar solo on a pop song, you really have to write something quite catchy and me lodic, and kind of justify it being in there,” said Joanne. “I kind of borrowed Joe for that really, be cause he’s such a versatile guitar player, and more so than I am. I got a few little ideas of things I wanted in there. Then it organi cally became a trading-off thing. So, we went with that in the end.

I’m glad we did it because his solo on there is probably one of my favourite parts of the album.”

Joanne’s last studio release was The Blues Album, which was re corded in her current hometown of Nashville, TN. However, for her latest offering, JST headed out to the legendary Sunset Sound studio in California. Speaking of her change in scenery this time around, Joanne said that: “When you’re away, and you’re com pletely absorbed in the album, it’s a bit easier to ignore outside dis tractions.” Not only did the artist record in this legendary studio, but she also utilised a spot within the building which houses a lot of history. “We managed to get the Prince room, which he hired out for a year to do Purple Rain. Being a big Prince fan, that was extra cool.”

Joanne surprised herself with Nobody’s Fool and how it affect ed her post-completion of the album. “I had such a good time writing this album that I’m writing more, which is rare for me. I usu ally write for an album and then stop,” explained JST. “I don’t know if that’s because I haven’t written since Reckless Heart, which was about four years ago. Maybe it’s just an age thing and I’m more comfortable myself and explor ing things that I write whatever I want. I don’t have to worry about whether it’s for me or someone else. So yeah, I’m going to keep recording bits and drabs until the next album, which I’m sure will be here before I know it.”

Nobody’s

Taylor will be released via KTBA records on October 28th. The artist will tour the UK at the end of the year, commencing at the Tramshed in Cardiff on November 22nd.

Fool by Joanne Shaw

Words: Adam Kennedy

Photo Credit: Chris Wilson

A lot has changed for Charlotte Wessels since we last caught up with the Dutch vocalist at the O2 Ritz Manchester in 2019. It was the release date for the artist’s fi nal album with Delain ‘Apocolypse and Chill’ and also the start of the band’s UK tour.

However, in 2021 Wessels and most of her Delain counterparts left the band for pastures new, leaving only keyboard player Mar tijn Westerholt. An unexpected and somewhat unpleasant surprise for Delain fans but understanda ble under the circumstances.

Fast forward to the present time, and Charlotte Wessels has been pushing forward with her solo career. A venture which has been catalysed by the artist embracing the online platform Patreon. Since she departed from Delain, Char lotte has amassed a huge collec tion of songs, which have been released via a pair of albums titled Tales From Six Feet Under Vol I and Vol II. At the time of writing the artist was preparing to per form her solo material live for the first time in her homeland of the Netherlands.

Speaking about the release show Charlotte said: “It feels like a milestone. I’ve been in the base ment for two years, and I’ve got two albums worth of songs and then some - that have never been played for an audience before.” She adds: “The last stage that I played before the pandemic hit was with Delain, and a couple of guys from Delain are joining me on stage as well. So, it’s going to be a very special moment.”

Utilising Patreon as a platform to release music has given the artist a new sense of freedom. “It’s been very rewarding. It’s basically the only reason that I’ve been able to do what I’ve been doing for the past two years. It has funded all the projects that I’ve done over the last couple of years. I am work

ing with Napalm Records again, but I haven’t had to ask for any ad vances or anything because I was able to fund the videos, the mixes, the masters, and everything myself which gives you a sense of freedom and independence that is wonderful,” said Wessels.

Patreon not only gave Charlotte independence but following her departure from Delain it also immediately gave the versatile songwriter both direction and a creative outlet to release music.

“I’m glad that I had Patreon before the band split,” said Charlotte. “If at that point I’d had to think of okay, what am I going to do now?

I wouldn’t have been in the mind set to go and set up something entirely new. So yeah, it’s been a great support system in all ways possible.”

As somewhat of a prolific song writer, the Dutch artist already had a lot of material looking for a home when she joined the popular online platform. “The whole reason why I started Patreon in the first place is that I wrote a lot of music, and not all of that was going to be on a Delain record because it was different,” said Charlotte. “I knew that if I didn’t do anything, those would just get dusty on a hard drive somewhere.”

Of course, a lot of artists suffered from writer’s block during the lockdown period. Being confined within your own four walls limit ed opportunities for inspiration. However, this was something that the former Delain lead vocalist didn’t have any issues overcoming. “There was a source of things that I could pull from if I wasn’t feeling particularly inspired,” said Char lotte. “It was also a weird time in life, that you’re not going out and you’re not doing the things you would normally get inspiration from. But, for me, I was closing this massive chapter in my life and going through all these phases of, if not for this, then who or what

even am I? And that is something that you can write about as well. It’s not fun, but inspiration. So, I didn’t really have like a blockage in that sense.”

Patreon has given the artist the freedom to push the boundaries of her creativity into areas that are outside of her symphonic metal origins. “Usually, when I have to start working on the song of the month, I’ll either have an idea or I will go through my old ideas, and I will be like, what do I feel like doing? And since I am at the moment not working on a record that it has to fit on, I just let every song go where I think it is to go.”

Beyond the unveiling of her new album Tales From Six Feet Under Vol II and the record’s official release show, Charlotte Wessels is open-minded concern ing further touring. “I’ve given myself permission to not plan the shows until I’ve done the first show. But I think that looking at what am I going to do live and where am I going to go - that is one of the first things that I’ll do after we do the Tivoli release show,” said Charlotte. Moving forward, the artist concludes: “I do want to work on an album ...not necessarily a compilation, but more of a cohesive thing. So that’s also something that I’d love to work on.”

Tales From Six Feet Under Vol II, the new album from Charlotte Wessels, is out now via Napalm Records.

Words: Adam Kennedy

Photo Credit: Sandra Ludewig

CHARLOTTE WESSELS

Forty YearS Of Anthrax

When it comes to heavy metal music, it doesn’t get much bigger than An thrax. The group are regarded as one of the ‘Big Four’ of the genre along side their peers Metallica, Megadeth and Slayer.

Anthrax are presently on tour cel ebrating their landmark 40th anni versary, albeit a year late, thanks to COVID. Although the pandemic may have initially curtailed the band’s tour ing plans, it allowed the group to take a break from their long and successful career on the road. “I think for me personally, it was a great reset and re charge that we never would have elec tively taken for ourselves. We would never have said let’s take two and a half years off,” said guitarist Scott Ian. “For me, being able to have that time away from the cycle of album tour, album tour, album tour, which essen tially, you could say, I’ve been on that since 1983. It was the first break I’ve ever really had in my life.”

Having spent his life on the road, time at home was much welcomed by the artist. “To stay at home was some thing that I found very easy to do with my wife and son. It totally recharged me as a human, let alone as an artist,” said Scott. The guitarist believes that: “a lot of great music and a lot of great art, in general, is going to come out of what the world went through and is still going through.”

Anthrax resumed their touring activi ties last year. Getting back onstage af ter this prolonged period of downtime was somewhat of an emotional release for the legendary guitarist. “Our first show back, we played a festival in Wisconsin, in June of ‘21. So that was our first actual show, after not having played a show since November ‘19,” said Scott. “We walked on stage, and it was just such a heavy moment emo tionally. Because it was the tangible proof I needed that I was going to get to do this again in my life. I was going to get to do what I do, and my band was going to get to go back to work. It was very intense and very emotional. I think I started crying during Caught in a Mosh - it was just a huge release of energy to get to do that again.”

The band recently completed the US leg of their milestone anniversary tour alongside Black Label Society and Hatebreed. “It felt so good to get back out there, to get on the bus and go, and to be out there with so many of our friends because we’ve known Zakk since 1988. His first ever tour with Ozzy. We were supporting Ozzy,” explains Scott. “We’ve known the Ha tebreed guys since the beginning. So, it was like a whole crew of idiots out there together. Just getting to have fun every day and playing these killer shows.”

Anthrax accompanied Slayer on their Farewell Tour. “We did around 100+ shows with Slayer over the course of them saying goodbye,” said Scott. “It was never really a case of think ing - oh, this is it. We were just out there having fun and playing amazing shows. Playing to great crowds and hanging with our friends every day.”

The realisation of the retirement of the band’s Big Four counterparts took place at Slayer’s final ever show in Cal ifornia. “I went to the last show in LA. We weren’t on the show, but I went that night,” said Scott. “I’ve got to say that was extremely emotional. Espe cially Tom (Araya), standing there at the Forum in Los Angeles. He was out there by himself for a long time after the set, and 14,000 people wouldn’t stop yelling. It was really heavy. It was a very emotional moment.” Scott compared the moment to a scene in a famous Hollywood film. “There was a movie years ago called A League of Their Own. It’s about women’s base ball, and Tom Hanks is the manager. There’s a famous line from that movie - there’s no crying in baseball. A lot of people that night were saying there’s no crying in metal; there’s no crying at Slayer, but you couldn’t help your self. It’s just it was a heavy moment.”

Scott Ian has fond memories of the band’s early UK tours. “When we first came to the UK, our first ever show was at the Hammersmith Palais - we sold that out. Then we were right back just a couple of months later supporting Metallica; they were on Master of Puppets, and we were tour

ing with Spreading the Disease. We went across the UK playing all these legendary venues. Hammersmith Odeon for the first time. Birmingham Odeon, which doesn’t exist anymore. Edinburgh Playhouse and Newcastle City Hall.”

Performing at these legendary venues was not something the band took lightly. “Playing these places that we had read about at the time in Kerrang magazine. Kerrang was still a metal mag back in ‘86. And, knowing that we were mere moments in time away from when so many of our heroes were standing on those same stag es. Whether it was Priest or Maiden or Thin Lizzy or AC/DC. Now we’re standing on the same exact stages where we’ve read about or seen videos of our heroes, like literally walking in their footsteps,” declared Scott. “I re member thinking when we headlined Hammersmith in early ’87, and we’d sell it out. Thinking Phil Lynott was standing right here recording a live record not that long ago. Now here we are playing the same room and it’s sold out. How did we get here?” A humbling experience for sure.

The Anthrax guitarist recollects their first appearance at Monsters of Rock. “When we played Donington in ‘87, that was our first festival. We went from a band that, at that time, I think the most people we had played in front of was 20,000, and now we’re on stage playing to four times that much at Donington. We were not even the opening band. WASP and Cinderella were on before us. And we’re on a bill with DIO, Bon Jovi, and Metallica. The crowd went nuts, and they were sing ing all the words,” explains Scott. “We did I’m The Man for the first time, and people lost their minds.”

Fast forward to the present time, and the group have a new album in the pipeline. “We are working on a record. Obviously, it was delayed because of the pandemic. But, yeah, we are working on it, and there are writing sessions planned to continue working on it,” concluded Scott. “I don’t think it’s too far off.”

Anthrax with Scott Ian

Words & Photo Credit: Adam Kennedy

It has been a long road so far for Vlad in Tears, a gothic-metal four-piece from Italy now living in Germany. Having suffered personal loss and setbacks, but deter mined to not give up, Vlad in Tears took some time out before returning stronger than ever.

Although vocalist and songwriter Kris Vlad is joined by a brother and two friends, Vlad in Tears is very much Kris’s project. “I wanted to do something that was mine,” Kris explains in an interview with Hard Rock Hell.

The name of the band comes from Kris’s love of gothic literature; something that evoked the gothic subcultures and is rem iniscent of eternal love and hate. “I have always been a huge fan of Bram Stoker’s Dracula and Francis Ford Coppola’s movie, although my first vampire will always be Nosferatu,” says Kris.

As the creative powerhouse behind Vlad in Tears, Kris writes all of the music. Initially recording notes on a synthesiser, Kris then adds vocals to the melody. As the song develops, Kris programmes drums, bass and guitars into the mix, before sending it to the rest of the band. There is an occasional request to add something, but the track usually stays the way Kris first envisioned it.

Porpora is the latest album to be released by Vlad in Tears. Unfortunately, it was not the easiest to record. The first attempt was, in Kris’s words, “a complete disaster.” They started again but the result was too “hot rock.” They took a long break, before trying again during the Covid-19 pandem ic, and this time it was different.

The album is perhaps their truest work to date, as it ties in with very human stories from the past few years. “I was reading news and talking to friends and I started feeling like I needed to tell not only my story, but everyone’s story – something that would make me feel closer to every one,” explains Kris.

The name of the album came about when Kris was visiting home in Italy. “I was looking for something to read and saw this little book with a white cover that had ‘Porpora’ written it, which was interesting as it is a colour that is a deep dark red,” explains Kris. “I opened the first page and saw that my brother had written it. It was absolutely terrifying. It was surreal, dark and brutal. It was all about violence, suffering, love, abuse and loneliness. It matched so much of the stuff I was writ ing.”

Previous releases by Vlad in Tears have tended to be more poetic, but this time Kris no longer wanted to rely on meta phors to express emotion. “I wasn’t using soft words or writing poetry,” says Kris. “I’ve been writing directly.”

Porpora is a rollercoaster of an album, which opens up with the powerful Wasted Lives before submerging the listener in the more mournful Down. The album is a continuing contrast between raw metal and melodic goth. This was a deliberate choice, as Vlad in Tears wanted listeners to experience the dynamic.

One of the many powerful tracks on Porpora is the anthemic cover of Running Up The Hill, originally by Kate Bush in 1985. Kris’s brother called, after watching

Stranger Things, and suggested that they cover Running Up The Hill. Although Vlad in Tears had originally believed Porpora was completed, they managed to incorpo rate the cover onto the album.

There had already been several covers of the song, including one by Placebo (a ver sion that particularly impressed Kris), but they were determined to make their cover unique to them, whilst remaining faith ful to the original. “I started writing and arranging it, trying to make it sound like our song too, then sent it to my manager who thought it was brilliant and wanted it on the record.”

When not writing or performing, Kris is something of a loner, often preferring to spend time reading a book (particularly those by Neil Gaiman), watching eighties horror movies or playing horror videog ames. “They really do relax me a lot,” says Kris. “They take me to another world.”

Being on tour is always demanding, espe cially when there is so little personal space to retreat to. “I stay in my own space until showtime, then I go out there and give 1,000%,” explains Kris. “I need to open myself and speak to them.”

For the moment Kris, and the rest of Vlad in Tears, are busy promoting Porpora and planning a tour for the coming year, which already includes confirmation for a big festival. However, Kris remains pragmatic, commenting “In these uncertain times nothing is real until it happens.”

Until then Kris and Vlad in Tears are run ning up that hill and fighting back.

Words: Peter Ray Allison

Photo Credit: Press/Supplied

JOHN PAYNE

John Payne has been a very busy man of late touring Asia-FJP across America, with Lou Gramm, and his schedule is about to become busier with AsiaFJP announced as HRH Prog headliners. With a new Asia-FJP album also slated for release, prior to this significant live date, this buzzing hive of activity will grad ually increase its decibel levels for the remainder of the year and throughout 2023. As a rare singer/ bassist, John Payne’s scene steal ing mid-tenor voice has served him well. It was Babe Ruth’s Alan Shacklock who plucked Payne from local band obscurity to add BVs to a pair of Roger Daltrey solo albums as Payne recalls: “Alan’s the guy who got my career start ed. He was living in Harpenden, in Hertfordshire, and we had a mutual friend, and he came down to some gigs and said, ‘I’ve got a job for you. Would you like to sing backing vocals on Roger Daltrey’s new album?’. John continues: “I had just been a guy playing in lo cal bands at the time and it was an incredible experience. I ended up being managed by Bill Curbishley and that catapulted me into ever bigger circles of people.”

Fast forward to the present day and John currently lives between L.A. and Las Vegas and, like most expats, he pines for the simple pleasures of old Blighty. Relishing the prospect of playing HRH Prog, Sheffield, he chuckles: “It’s been so long since we’ve toured there. I’m actually looking forward to getting some good fish and chips and a curry.” Joking aside, John offers a glimpse of what his fans can ex pect: “I’m going to be announcing the band members early next year. We are going to use a UK based band. We’re looking into doing some other dates and other festi

vals in Europe as well. So, this date in Sheffield is the one that really kicks it off and is what’s bringing me over. I’m looking forward to this festival.” John also reveals that there is a new Asia-FJP album currently being recorded: “My dear friend, Rodney Matthews, has done a cover for us and he’s done such a good cover. The album’s going to be called Aviana, which goes back to the old album styling starting with an A and ending with an A, which means birdlike. The cover features a huge metallic bird which is along the lines of what he did for us with the metal whale on the Aqua cover.” As a substantial songwriter of note, John details the situation with the new album: “It’s going to be a ten-track album. Some have been recorded, some are still in the writing process. It’s very much in the same manner as the very first Asia album when it came out and is nothing new as regards direction.” John adds: “It’s funny as this year is the 40th anni versary of the founding members album, and 30 years of my first album with Asia: Aqua. We’ve been touring what we call a 30/40 tour for the whole year in the States. “John is also writing a song with Lou Gramm who has been a guest on this tour doing half an Asia and half a Foreigner set. He is also playing dates with Boston alum ni Fran Cosmo and Kansas’ John Elefante and writing songs with Chicago’s Bill Champlin.

Seemingly content in his musical world, John has had scant con tact with his former and original band mate Geoff Downes as he declares: “It’s still a bit strained. I’ve seen him occasionally at the NAMM Show, which is a big musical equipment event that happens in Anaheim, California. I’ve bumped into him a couple of times and it was cordial. But we don’t keep in touch.” With a hint of sadness, John states: “During the reformation of the founding members, it was kind of a rough time for both sides that really set

the direction that probably isn’t going to change. I did put forward a couple of times a bit of an olive branch saying it’s the 30th and 40th year, why don’t we do some thing together, but that kind of fell on deaf ears. So, I just carry on doing my own stuff. I haven’t seen Carl in ages, and I haven’t seen Steve Howe either in quite a long time.” All this reminds John of how he came to join Asia: “I had a solo career going and the bass player in my band, Phil Spalding, was also the bass player in a band called GTR. I got to meet Geoff Downes, and Steve Howe, when Geoff was producing the first GTR album and Wetton had walked away from Asia. Geoff asked me to sing on a project he was putting together called Rain and we had a track: Who Will Stop The Rain. We looked to get a record deal, but nothing happened. Larry Mazer, who ended up managing Kiss, went round record labels trying to get us a deal. I didn’t hear any thing for about a year then one day Geoff called me up and said, ‘can you come to Nomis Rehearsal Studios in London to have a chat about some stuff’? So, I turned up and that’s when they asked me to join Asia. I asked for 48 hours to think about it because I was part of a thing called ELO Part Two and we hadn’t recorded anything. I’d been to the States to meet with Jim Steinman who was going to be producing the ELO stuff. Then I heard that there was some legal wrangling over the ELO name. 24 hours later, I called Downes back and said I’d like to join the band. Then very quickly, we’re in Ad vision Studio where we spent six months residentially in Brighton recording the Aqua album. We had cool times working with people like Simon Phillips and Nigel Glockler and, of course, Carl played on some tracks as did Steve. It’s funny to still be doing the same music af ter 30 years!” Time flies by as the new Asia-FJP album, in the making, Aviana timely reminds.

Words: Paul Davies

Photo Credit: Press/Supplied

In a blur of bright lights and visuals provided by a wall of white Marshall amps, Twister have blasted all over the country this summer. Now that festival season is over, it doesn’t mean that Twister are slowing down. They are going full steam ahead with a new EP and a brand-new stage show for the tour. HRH Mag’s Charlotte Simpkin caught up with the band to find out more.

You have had an amazing summer season. What were your highlights?

To be honest, this whole year has been excellent for us. We’ve released three singles so far, and each one has done better than the last. Along with our headline tour back in April selling really well and a chock-ablock diary of festivals, it’s felt so good being back at it, full tilt. Especially our shows at HRH Ibiza and Lindos Rocks. But I think the highlight for us is hitting Number 1 in the iTunes rock charts with ‘Secrets’.

During the madness of summer, you guys were busy writing new material. How did you find the process? It’s always difficult managing your time between touring and writing. However, this year has probably been the most enjoyable we’ve ever had it. We’ve been trying new ways of writing and we’re having a lot of fun doing it.

You seem to have a pretty good team around you and an even more loyal fanbase? We couldn’t agree more. We have a great team and an even better fan base. They are the ones who’ve kept us going for the last couple of years. We’ve come out of the traps fast this year because of their support and with our team behind us to keep everything moving forward. We must keep working hard and enjoy the ride.

The new EP, Only the Strong Survive, tell us about it?

We’ve been working with Grammy-nominated Romesh Dodangoda, and what an experience it has been. He’s truly brought out the best in us. Only The Strong Survive is the collection of singles we’ve released this year, and one more track called Favourite Underdog, which we are releasing at HRH in November. The EP also includes some acoustic versions of the songs that were mixed and mastered by our very own Jake Grimes.

Your first three singles have hit 1st, 2nd, and 3rd in the iTunes rock chart. What an achievement! We’re totally blown away by it, to be honest. When we released ‘Don’t Play Nice’, we weren’t expecting anything like that. But waking up that morning to find out we had a strong chance of it being up there was amazing. And then with ‘Own Worst Enemy’ and ‘Secrets’ both bettering it. Just wow.

You have a new stage show for the tour. What should people expect from a Twister show?

We do. It’s all about energy and theatrics, creating tension and then releasing it. We’ve worked on our live show so much over the last year to give our fans something they absolutely must see. Our new show intro plays on our tour title, ‘Only The Strong Survive’

then explodes into our opening track, Secrets. We hope everyone loves the show as much as we have loved making it.

Mentioning shows, you are performing at HRH 15 with the likes of Skid Row and The Darkness. Are you excited?

Yeah, we can’t wait. We love being a part of the HRH family, and playing alongside bands of that calibre is a dream come true. We always come away from HRH with a few stories to tell.

What is next for you all then?

We have a European tour with The Quireboys in February. Numerous UK festivals and a couple of other tours are in the pipeline, but our main goal is to get the second album finished. Once we are done with shows this year that will be our total focus.

Is there anything you would like to say to your fans? Yeah absolutely. We can’t thank you enough for your support. You guys believing in us and pushing us to better ourselves is what keeps us motivated. Without you we would be nothing.

Thank you, boys! We can’t wait to see you on the road!

Twister’s new EP “Only the Strong Survive” is available from all digital platforms, Vinyl and CD from their website. Catch Twister performing their new EP and more with a mesmerizing show at HRH 15.

Words: Charlotte Simpkin

Photo Credit: Dark Light Device

PHOTO GALLERY

The biggest sleaze weekend of them all! Bursting with hairspray, glitter and animal print at its sweaty seams, a party no rocker wants to miss out on! HRH Sleaze V returned in August for its fifth run at O2 Academy Sheffield exposing some of the best artists in the bizz!

Opening act for this year’s festival was Helsinki’s very own Plastic Tears who hit the main stage to a packed crowd. The day continued with other notorious sleaze performers including Bai Bang, Gypsy Pistoleros, Kickin Valentina, Crazy Lixx, Bad Actress, Hardcore Superstar

Hot of the press with their new EP “Bad Timing and Silver Linings”, Paradise Alley brought their glam punk attitude to stage two with friends Plastic Tears joining them for a sing-along. Whilst Hardcore Super star ripped the roof off the stage and the crowd gave bassist Martin the happiest of birthdays! They got everybody rearing to go for the main act of the night.

The legend that is Michael Monroe hit the stage to an eruption of applause and cheers! Running and jumping on and off the stage at 100 miles an hour, climbing on and off everything in sight, giving the crowd every penny of their money. A perfect end to the first day of an awesome weekend of great music and today it starts all again!

After an amazing Saturday night, it was time to shake

off the bad head and crack open a hairy dog for an other day of music infested with sleaze and attitude. To wake everyone up The Idol Dead opened the main stage with feel good rock n roll tracks to get the day started. The Smokin Prophets ripped open the second stage with their young and fresh but gritty sleazy attitude.

Gary Moat (ex-Heavy Pettin) brings Burnt Out Wreck to the main stage with heavy riffs and crashing drums. Hailing from Sweden, land of the Sleaze, Con fess took to the main stage with fans in the palm of their hands! A favourite across the HRH community, The Mercury Riots returned to HRH Sleaze with some new tunes, packing out Stage 2 on Sunday afternoon.

The Sleazy Swedish lads of Electric Boys never hold back on bringing the energy, and with guitars flying and their sound vibrating through the crowd…its safe to say this time was no exception! Closing Stage Two of HRH Sleaze V was London rockers The Needful Things who had a few special guests as well as a spe cial finale cover song!

Giving us a dose of American Metal, Hard Rock Leg ends Lillian Axe turned it up to 11 for a mind-blowing performance filled with fan favourites “Misery Loves Company”, “All’s Fair in Love and War” and “True Believer“. Pretty Boy Floyd tore up the stage as they co-headlined the final night, bringing a true essence of sleazy vibes and lots of booze to accompany!

A calming end to a hectic event was an acoustic set from Mr Big’s Eric Martin who had the crowd singing along to song 90s classics including “To Be With You”, “Daddy, Brother, Lover, Little Boy”, “Wild World” and more!

It really was an incredible Sleaze Rock Ride, anoth er reason why you don’t miss out on next year, hell yeah!

Words: Charlotte Simpkin & Charlotte Hooper

Photo Credit: Simon Dunkerley

Bastette exploded onto the scene in 2019. The band which is front ed by Caroline Eve Kenyon was named after the Egyptian Goddess of Protection. The latter is a char acter which Caroline embraced as part of her on-stage persona.

Besides a busy year on the road, and line-up changes to boot, the band recently unveiled their latest EP, which is rather poignantly titled Awakening. “I suppose if you listen to the tracks, it’s about waking up to the reality of differ ent situations and getting rid of the negativity in your life,” said Caroline. Or as the artist more el oquently put it, making sure there is “no more negativity in my aura.” Caroline adds that the EP is about “Waking up to and accepting situ ations and accepting where you’re at in life as well.”

The latest track to be released from the EP is titled Fiction. A song about falling in love with the wrong person. “Fiction is about falling for someone who doesn’t exist. It’s about falling for a rock star,” said Caroline. “Rock Stars do exist. However, their persona is not how the real person is.” Perhaps you would agree that an artist’s stage persona is a front. “I have met quite a few musicians throughout my time. I understand that when I step on stage - it’s different,” explains Kenyon. “I met somebody who wasn’t necessarily what they seemed.”

Bastette’s latest single perfectly underpins the rest of the EP. “It’s all very much about - okay, I’m awake now. This is the reality of the situation. But also taking back control of situations where I wasn’t

in control, or the person that song about wasn’t in control,” said Car oline. Putting down these feelings in a song can be a cathartic release for the artist. “Sometimes music can be a bit like therapy,” she said.

With her new EP in the bag, the Lancashire native is focused on a bigger release for her next project. “This is the final EP. There will not be another one. The next thing will be an album,” she said. ”I don’t want to put pressure on myself with it. I’ve not got a label or any body going, I need this right now. So, I’m not going to do that at this stage. When I put an album out, I really want to be proud of it.”

As a band, Bastette are not afraid to push the boundaries of the rock music genre. “I’ll come out with a heavy rock song, and then I’ll write the most pop banger, catchy, cheap thing you ever heard in your life. So, it really does depend on the song. The song will be what it wants to be. You can’t dictate it, so to speak.”

With her focus on the debut Bastette album, Caroline is giving herself some creative space in the coming months. “I’ve deliberately made it not busy so that I can fo cus on writing a little bit. Because I have noticed when a band comes out with an album, you would expect if it’s been planned correct ly and the album’s done ok, they would have to do tour after tour after tour after tour. And then it’s like, I need the next album again. So, you don’t get that breathing space,” concludes Kenyon.

Of course, the group have toured considerably throughout the year.

“Going back out there and seeing the fans and seeing this need for live music is the reason that musi cians do it,” said Caroline. “If you are wanting to be a performer, you live for the gigs. That is the best part of what you do. So yeah, it’s been exciting.”

If you’ve seen Bastette perform live recently, perhaps you noticed Laurie Buchanan (The Hot Damn/ Aaron Buchanan and the Cult Classics) on guitar. Speaking about Laurie’s involvement in the band, Caroline said: “It’s been fab, but Laurie is taking a step back from the Bastette camp now because things are busy with The Hot Damn, and that was always going to happen. She never led me to believe that she was going to join or be a permanent member. But she’s been so great, and a breath of fresh air, if I’m honest.” Caro line adds: “She’s very calm and very chilled, and you can see the difference in the dynamic; we just gelled. I suppose that is because we are opposites. She’s a very talented musician, and she’s been fun to work with. We will continue to work together; it just won’t be as much - as she gets busier.”

Rounding out the year, Caroline intends to focus on working on new music. “We are writing and getting in the studio to try and re cord some tracks that may or may not be on the album,” said Kenyon. “We have a couple of gigs around Christmas time, and then we go into the new year.”

Awakening, the new EP from Bastette, is out now.

BASTETTE WIDE AWAKE

Words & Photo Credit: Adam Kennedy

THIEVES OF LIBERTY

The North-East’s Thieves of Liberty quite literally stole the show during their performance at HRH’s Highway to Hell in Sheffield. Following a change in personnel, the band are back with a regrouped lineup and a new sound to boot.

During the last year, the band has seen a lot of change. Performing at Highway to Hell and the response that the band received made the band feel like they are on the right path. “I think what was so nice about Sheffield was that – not that I think all of us ever needed it. But it’s getting recognition from the people who are listening to you. Getting that – it sounds a bit cringe to say it, but validation. It’s almost like validating what you’re doing,” said Thieves of Liberty frontman James Boak.

With various musicians being drafted into the lineup over the last twelve months, the band line up now feels complete. “Now it just feels like we’re an actual family,” said drummer Hattie Steel. “Now we’ve got not just great players, but they are people who we get on with socially. There’s so much chemistry between us,” explains guitarist and founding member Kieran Wilson.

The band’s recent rotating line up caused a few challenges for Thieves of Liberty’s core mem bers. “We aren’t having to meet new people all the time and then go through the whole process of getting on with them or learning the songs with them and doing it over and over,” said James. “I think it just feels so much more comfort able now. There’s a path that you know you are going to go down now that everything is sorted.”

Guitarist Kieran Wilson is the only remaining member of the first incarnation of Thieves of Liberty. However, the material performed by the band’s original lineup, has been parked for the foreseeable future. Hattie explains that the original material “just didn’t suit James’ voice”. Kieran adds: “The new style suits me better as well. I’ve always been into classic rock and the hard rock style. So going in that direction suited my guitar playing as well.” The new band members all shared a similar taste in music. “That was the new mem

ber’s influences as well. We were all more into that kind of thing, rather than what we were doing before,” explains Hattie.

The title track of the band’s recent EP was Back Again. A pertinent title for a band that has risen like a phoenix from the flames. “That was the first song we wrote at our first session when we decided the old stuff wasn’t going to work. We had a gig in London, and we were like, we’re going to have to write lots of material, and we’ve got half an hour set. That was the first one that Kieran went - I’ve got this riff and jammed it,” said Hattie.

Changing musical direction was something that played on the band’s minds. “There was a worry about completely changing the style of music but keeping the same band name. A few people were doubting us when we did that. But the reaction has been amazing,” said Kieran.

The release of the band’s latest EP, Back Again, was enough to quash the opinions of their naysayers. “I feel like now the EP is out, it’s kind of put a lot of things to bed for us,” said James. Kieran adds: “Until we released that first song, I feel like there were still doubts over whether it was still Thieves of Liberty. But now that EP is out there, I think it’s settled, and everyone recognizes that this is Thieves of Liberty.”

In recent times the band have per formed high-profile support slots alongside artists such as Reef, Massive, and The Futureheads to name but a few. “Playing with Reef was a big one for me because I like Reef anyway. Everything was very professional, and the stakes almost get risen when you start doing that. The way everybody works be hind the scenes is different. Even with the Sheffield show getting off and on stage was like very like go, go, go and I’m not really used to that,” said James.

Performing alongside established acts such as Reef has not only allowed Thieves of Liberty to grow their fanbase but also to learn and develop. “It’s good to know that we are getting in front of the right people as well because a lot of their audience would potentially be fans of us. So, it’s good to be playing in front of the right kind of people. And we’ve made loads of fans organically through that,” said Hattie. “I think when you play with these bands - you learn a lot. You watch them on stage, and you see certain things they do. You sort of take a lot of things on board, like the way somebody might react with the crowd. I think you learn a lot from seeing people with a lot more experience than you might have,” adds James.

With their debut EP under their belt, Thieves of Liberty are cur rently looking towards their next chapter. “We’ve got a new single called Calypso,” said Kieron. “It’s quite high energy,” adds Hattie. The song has already become a live favourite amongst the band and their fans alike. “I’d say it’s got a bit more of a fun feeling to it than some of the other tracks that people might have heard so far. I particularly like singing that one just because it’s so much fun,” said James.

As the regrouped Thieves of Lib erty head into the final stages of 2022, they are looking forward to what is to come. “I think we’re just wanting to get as much music out as possible and just gig it every where we can so everyone can hear it because we’re excited for people to hear it, and it’s so much fun playing it,” concludes James.

Calypso - the new single from Thieves of Liberty, will be available everywhere on November 18th. You can also see the band play live at HRH 15 in Great Yarmouth on Saturday 5th November, where the band will play on the main stage alongside headliners Ugly Kid Joe.

Words & Photo Credit: Adam Kennedy

Wylde and Wonderful HRH Mag Meets

Zakk Wylde is unquestionably rock/metal royalty. Earlier this year, his band Black Label Society released their latest album Doom Crew Inc, as well as making a high-profile appearance at Down load Festival at Castle Donnington. The latter is a place where the legendary figure has performed many times.

The Black Label Society front man and guitarist followed in the footsteps of the late great Randy Rhoads when he was drafted into Ozzy Osbourne’s band after the departure of Jake E. Lee in the late 1980s. Recollecting that time Zakk said: “It was just an honour coming in with Ozzy. All of us that are my age are all inspired and influenced by Saint Rhoads, you know, Ran dy. Those two albums they made are templates - they are not even albums. They’re templates for a whole genre of music.” Of course, the albums that Zakk is referring to are the classic Diary of a Mad man and The Blizzard of Ozz.

The guitar great gives an analogy from the world of sport to compare his time with Ozzy. “Without a doubt, I was just honoured to put the uniform on,” he said. “If I loved Manchester United, and all my favourite players played there, and I had posters of them up on the wall… it was like now I’m playing for the team.”

Following his tenure with Ozzy, Zakk Wylde fronted Pride and Glory. Even though the group was short-lived and only released one album, the debut record from Pride and Glory was one that many holds in high regard. The group was founded following what was deemed as Ozzy’s No More Tears farewell tour. Zakk compares the band to: “Moving out of your parent’s house and not having that security blanket of Oz”. Not that Wylde wanted to be away from the father-like figure of Ozzy Osbourne. He adds: “It was just an

exciting time, without a doubt.”

Pride and Glory performed a oneoff reunion show at the Whisky a Go Go in Hollywood in 1998. How ever, since that time the band has remained inactive, although by his admission, “he still keeps in touch with the guys”. Despite this, Zakk suggests: “If I ever wanted to revis it it again, I could definitely do it.” Although there are opportunities to explore the band’s repertoire elsewhere. “We could actually even go out as Black Label and do Pride and Glory,” explains Zakk.

Zakk Wylde was close to the Pan tera camp, and as a result, he will participate in the reunited lineup alongside Phil Anselmo, Rex Brown, and Anthrax’s Charlie Be nante. The US-based artist remains wistful about his fallen brothers.

“I remember talking with Vinnie, and this was when we were down in Australia. He was like - Man, I can’t believe my brother’s almost gone ten years, and we were just talking. I go, I know it’s crazy,” said Zakk. “Whenever I’m in Dallas, if I have a chance to go down and visit their grave site, I always go down there if we don’t have press or if we’re not working. The last time I went down, it was crazy. I’m sitting there looking at both of them, and it was not that long ago that I’m sitting there talking with Vinnie, and now he’s right next to his brother. I was just like, this is insane. Every night we dedicate In This River to both of them now.” He adds: “It just really goes to show you how fragile life is.”

Dime and Vinnie may be gone, but they certainly won’t be forgotten.

“I think Dime’s legacy to me, the way I view it, is very much like Tony Iommi’s. In the regard that Dime like Lord Iommi - the extreme metal that they created basically is a genre of music, just like how Sabbath created a genre of music,” said Wylde. “Their style of music and the way Tony wrote those riffs, it’s its own genre of music. I

think at the same time, Dime with extreme metal - whether it’s Lamb of God and all the bands that are in that genre of music, they are measured by the Pantera stand ard. I mean, they are hands down the Godfathers of that genre of music.”

With Zakk’s current outfit - the group’s fan base is fiercely loyal. “The beautiful thing I think about with our Black Label community with the whole Black Label family is it’s very similar in regards to the Grateful Dead. You can walk into a pub and see somebody with Dead stuff on or the tie-dye stuff on and start talking. And they are not even in town playing a show. You see somebody, and you could start a conversation and talk about the Dead. The next thing you know, you’re telling me you’ve known this guy for 18 years. You met at a pub, and you started talking about Jerry Garcia. Then the next thing you know, you’re the best man at his wedding. I think it’s very similar to that because, especially with so cial media, you can keep in touch with everybody.” He adds: “It’s just a living breathing thing. It’s bigger than a band.”

Doom Crew Inc, the new album from Black Label Society, is out now on Spinefarm.

Words: Adam Kennedy

Photo Credit: Justin Reich

NIGHTBLADE THREE IS A CHARM

UK-based hard rockers Nightblade return to the forefront with a new album and a turbocharged line-up to boot. By their ad mission, the addition of new guitarist Chris Seldon has made a huge difference to the group, particularly on their latest release.

The band’s new album, Hope To Be There, is the third part of their latest trilogy. Although the title may indicate that it was written about the pandemic era, the band would suggest otherwise. “A lot of the stuff I write is based on real people, different scenarios - like things I hear peo ple say. It’s basically, if you knuckle down and do the right thing, you may get there. That’s basically what’s behind it,” explains frontman Mark Crosby. “From Ignorance Is Bliss when that was released in 2020. It’s a progression of that and developing our own sound, which appears to be coming through.” Mission completed in that re spect, with several reviewers commenting on the band forging their sound.

Nightblade’s recent single is called No One Is To Blame. Speaking about the track Mark said: “There’s probably too much stuff written about relationships and love and all the rest of it. However, it is about a relationship between two people who started with great intentions and as time went on, it just sort of dwindled. It started on the right footing with the best idea with some longevity there, and it just didn’t turn out that way. That’s the moral behind that song. I suppose everybody can relate to that. A lot of the writing that I do is about proper scenarios.”

Having turned out three albums in the last three years, Nightblade are in a creative place right now. “It’s pouring out, it really is, and it’s not stopping. We work very well as a creative unit. We’ve all got our built-in creativity and put us all together with all our different influences, and it makes for some interesting music. We’re not particu larly trying to sound like anyone, group, or person for sure. We never write a song and think, oh, okay, this is going to sound like this. And a lot of the time, we can jam,” said Mark. “We’ve got a creative hub like I’ve never had before with the band, which is not taken lightly, and a gel there. Every musician knows it’s all about the gel and working together, and we’ve just got a great fit at the moment for sure.”

Although the band have released a trilogy over the last three years, each release can stand on its own. “They are sort of indi vidual chapters in their own right. But by way of doing three albums in three years, that’s why we call it a trilogy. They have got their different identities, as it were. However, again, there’s a bit of cohesion to them as well, and across the three albums, I think people can hear our sound develop ing,” said Mark. “I think if somebody was to go out there and buy the three albums, they would see a connection and indeed a progression as well. The consensus is that we’ve had great reviews from all of them. But the general consensus is Hope To Be There is the best of the three. And it’s the journey across those three albums if you like.”

Of course, Nightblade hail from the Mid lands, or Kidderminster, to be precise. A town known for its association with Robert Plant. Of course, this area has a strong tie to Led Zeppelin. So, has the band’s frontman bumped into the rock legend in the local co-op whilst buying a pint of milk or had a chat in the local pub? “Our first drummer worked for Robert Plant,” said Mark. “There are quite a few people in the circle that know Robert. If you’re a musician and you’re in Kidderminster, there’s usually some connection,” said Mark. “Going back sometime now ago we filmed a video in Rushock Church, which is again just outside of Kidderminster. We had special permission, and it was special permission to video it where John Bonham was laid to rest.”

With their new album in the bag, touring will be the band’s main focus heading into the new year. “All sorts of things bubbling away at the moment. We’ve only done a handful of gigs this year. The way it’s been, it’s very hard to gig where you want to do and get it to work because it’s such a backlog of gigs running through the sys tems. There are some venues closing, but we’ll do another couple of local things, just to make sure we’re not rusty at the end of the year. But I think there’s going to be a big emphasis on gigging next year,” concludes Crosby.

Hope To Be There, the new album from Nightblade is out now.

Words: Adam Kennedy Photo Credit: Press/Supplied

WHEELS KEEP TURNING

Following the success of their last two chart-topping releases, UK rockers Massive Wagons are back to the stack with a new album that will knock your socks off. The Wagons’ new album is titled Triggered! The band’s frontman Baz Mills tells us all about it.

With the advent of social media, you can’t look one way or another without someone trying to voice their opinion on any given topic. These situations quite frequently cause people to react in not always the best way. “I get triggered by things, but sometimes it goes a bit far. We’re all on social media now more than ever. People seem to spend our lives on there,” said frontman Baz Mills. “Everything has to be sort of ripped apart and abused online.” He adds: “It’s just this faceless abuse that people seem to band around. There’s nothing wrong with having differ ent opinions and having debates and conversations about things, but things seem to get heated and personal very quickly.”

Massive Wagons’ anthemic first single from the album F*ck The Haters addresses the subject of bullying. The band recently visited a local school to talk about this burning issue. “We’ve got a friend at that school, and they said would you like to come in? They saw the campaign and thought it was great,” said Mills. “I’d like to think the school plays a big part in high lighting bullying. I know because of this visit me and Adam are doing, I went online to try and find some sort of resources. There’s a lot of school resources, download able stuff, so it must be there for a reason, and they must use it.”

Massive Wagons have a tendancy to inject a sense of fun or humour into their music. A perfect example would be The Curry Song on the band’s last album. However, with subjects such as bullying, the band are grappling with more serious topics this time around. “I’m not a big fan of corny songs or corny lyrics or generic lyrics,” explains Baz. “I want to write things that are honest, and I know what I’m talking about through first-hand experience. I think more people connect with that than you think. They listen to and go - you know what - that’s right. I went through

that. That happened to me.”

Although the serious context of some of these messages, the band don’t want to get too heavy on the messaging. “I put the funny songs on the album sometimes because I don’t want to bog people down with all that serious business,” explains Mills. “l like writing songs with serious messages in a fun way. Billy Balloon Head is a prime example of that. It has a serious message, and it’s a hilarious song. When you dig into words a bit, it’s a bit more serious than you think. I don’t want to stand on a bar stool and preach to people. But I want to raise some points.”

There is one thing that Massive Wagons aren’t short of, and that is passion. And that certainly comes across throughout their new album, Triggered! “I think it’s got to be honest, and it’s got to be passionate,” said Mills. “I think rock fans are music fans, and they can see through a lot of fakeries. I know that if I’m going out there talking and singing about what I feel and what I believe in, then I know it’s going to come across well.”

The band’s latest single Please Stay Calm, has been described as Yacht Rock – a niche genre, per haps you will agree. “It’s probably collectively our favourite song on the album between all of us. The song is about putting a mask on behaviour. Or being in a band and being expected to act a certain way. Or be somebody else or be who everybody else wants you to be. You can’t sometimes be your self - you’ve got to put on this sort of persona a little bit. It’s poking fun at myself a bit.”

Speaking of Yacht Rock, the video for the single was recorded on a luxury boat on the south coast. “It was recorded off the coast of the Isle of Wight – we left Southamp ton. Obviously we weren’t driving it. There were two guys with us

- they took us off there. I’ve never been before. Those rocks off the Isle of Wight are called The Nee dles, and I’d never heard of it be fore. The guy filming it with us had a drone - and it just looked amaz ing. We got Stephen on the front of the boat, and he was absolutely crapping his pants doing that - but it looks amazing. It was good fun,” said Baz. “It’s kind of that AOR or 80s AOR. I suppose you can im agine sitting on a boat listening to it. That’s where it comes from.”

Massive Wagons will shortly take to the road on a co-headline tour alongside 90s rockers Ugly Kid Joe. The band recently crossed paths on tour with Thunder. “They’re a great bunch of guys. We met them that night with Thunder and they were really cool guys. So, I think it’s going to be great. It’s a co-headline thing. So, we’re both doing an hour and a bit each,” confirms Mills. “I think the music styles are similar enough, but different enough to be inter esting and good. They’ve been around a long time. I remember when I was a kid seeing that T-shirt and nearly buying it but didn’t buy it in case my mum gave me a b*llocking. You know, the kid with their middle finger? I wanted that T-shirt. And then all I could see was my mum saying, you will not be wearing that. But I’m really looking forward to it - it’s going to be great,” concludes Baz.

Triggered! The new album from Massive Wagons will be released via Earache Records on October 28th. The band will be touring alongside Ugly Kid Joe throughout early November. For ticket infor mation and further details, please visit http://www.massivewagons. com.

Words: Adam Kennedy

Photo Credit: Dean Chalkley

“IT’S SHOWTIME!” MARCO MENDOZA

When it comes to bass players, there are few to have such a glowing resume as Marco Mendoza. Perhaps you have seen Marco perform during his tenure with groups such as Jour ney, Thin Lizzy, Whitesnake, and The Dead Daisies, to name but a few.

Most recently, Marco has been involved with the supergroup Iconic. A band of legends, comprised of for mer Whitesnake bandmates Tommy Aldridge and Joel Hoekstra, along side Michael Sweet of Stryper and Inglorious frontman Nathan James. “I think I was in somebody’s Rolo dex” he jokes. “I got lucky, and I’m glad I got the call because they’re all amazing artists and talented. We got to hang. We got to know each other a little more. What a great bunch of cats,” said Marco.

“Nathan - I can’t say enough about him. As a singer, as a person, and as a human being. He’s so fun to hang out with. He’s full of energy. What can I say about Tommy? He and I have done so much work. He’s my brother and I love him to death. I respect him. There’s only one Tommy Aldridge. So anytime I have a chance to work with him, I’m excited and glad to be part of his journey and his career.”

Throughout this year, Marco has been hard at work touring Europe whilst promoting his latest solo al bum New Direction. Whilst life dur ing the pandemic era may have cur tailed Mendoza’s touring activities, it didn’t stop him from being creative. During this period of reflection, Marco Mendoza worked on a new book. The artist’s friend and graphic

designer, Mark Allison was a catalyst for this project. “Mark was after me for quite a few years,” recollects the bass player extraordinaire.

Allison argued that Marco should write a book, citing the fact that he has “a great story”. Marco’s response at the time was “Nah, I still have a few more years to live and talk about. But finally, you stop and you’re trying to find things to do, and we came up with this book, which is called Show time.” Mendoza adds: “I’ve got to say I’m really proud of it. Mark just outdid himself. He’s an extremely tal ented cat in so many ways that I can’t even put it into words. So, we came up with that book. We wanted to do something to stay connected with the fans. We announced it, and let’s say it just blew up in such a bigger way than expected - I’m totally amazed.”

Besides the book, during the pan demic era, the versatile bass player was trying to complete his latest solo album. Although, due to a variety of restrictions and logistical chal lenges this was not so easy. “Most of the time during 2020 was spent trying to get back to Copenhagen to finish the new album, and we were having a hard time,” said Marco. With international borders closed, travelling overseas was somewhat challenging. “I never gave up. Finally, June of ‘21, I get out there and we finished the album, and it was great,” explains Marco. “On the fourth day, Soren (Andersen), my producer, my songwriting partner and guitar play er - he’s amazing. He gets sick with Corona.” In the end, Soren called in a favour from his business part ner. “They own this studio - Medley

Studios in Copenhagen. An amazing state-of-the-art studio and a great place to work. And Nick, his partner was available,” said Mendoza. “He was amazing. He came and we did two more days, and we finished the album.”

Whilst the artist overcame many obstacles, they continued to come in thick and fast. “When I was on my way home, I had some dates sched uled,” said Marco. “We were coming to the UK, and then we had Den mark, and we had a handful of dates, and I was really happy. A few days af ter I got home from Copenhagen and your Prime Minister Boris decided to close the borders again. So, there was a domino effect.” Marco adds: “The whole tour fell off.” But thankfully, being an in-demand bass player like he is, opportunity knocked. “Two days later, I get the call from Neil Schon to cover for Randy Jackson playing with Journey.”

When overseas travel was permitted, the former Dead Daisies man was able to tour Europe. “The borders opened up, and we tried to rebuild whatever dates we could salvage,” confirmed Marco. “We came to the UK, and we did a bunch of stuff all over Europe. So, I kept busy some how.”

Marco Mendoza’s latest album New Direction finally received its release in mid-September. Subsequently, the artist will be back in the UK on tour throughout November in support of the album. For ticket information and further details, visit www.marco mendoza.com.

Words & Photo Credit: Adam Kennedy

PRINCE

Prince Bishop as a band name might give you the wrong im pression. Perhaps it sounds like a move in a game of chess or even a character from Game of Thrones. However, it’s a name that pays homage to the area from which the band originates. That being the North-East of England, or County Durham to be precise.

Those from the area or who have visited the historic city of Durham will know that it is referred to as the Land of the Prince Bishops. “It’s about local history and the kind of religious history and the Prince Bishops,” said frontman Ben Trenerry. “I’ve always had a thing about regal band names like Prince or Queen, and I just kind of

wanted to say something about where we’re from.” A fitting trib ute to the majestic Northern area. Ben adds: “When we recorded the album, we didn’t even have a name for the band settled. It was just that I had some songs. I had some friends who I had played with in other bands. I’ve done a lot of solo stuff prior to recording, and it just naturally came together.”

It’s still early days for the project, who following the release of their new album All Is Due, are looking to make their live debut soon. “We’ve reconvened this year. We finished the album off before the pandemic,” said Ben. “Between finishing the album, we had a bit of an issue with line-ups. So, we

got a new line-up together and got all that formalised, and up and running. Then, of course, the pan demic hit, and it was like - oh, my goodness, what does this mean? It’s taken us a bit of a while to get going again.”

With a regrouped band and a new album in the bag, it’s all systems go for Prince Bishop. “We’re chuffed to be back rehearsing and playing regular. We’re dead ex cited about having the album out in November,” said Ben. “It’s just lovely to share the music. We’ve no expectation and no idea what people will think.”

The group aren’t afraid to grapple with different styles of music. “I

BISHOP

think we are probably quite a dif ficult band to pigeonhole into one thing or another. Which, for me, as a songwriter, is kind of the way to do it. Because why do you want to sound like anyone else.”

The artist’s songwriting has been partly inspired by his personal beliefs. “I’ve practised a form of Buddhism for about 20+ years. So, that kind of worldview that I have really informs my writing. What became the title track is the last song on the album. It felt like it represented everything that preceded this in a succinct way,” said Ben. “I’m a big believer that everything happens for a reason. I think, possibly in light of what’s happened in the last couple of

years, there are probably more and more people who have come around to that way of thinking.”

Ben adds: “People want to see change, and I think I’m a big believer that change comes from within.”

Although Prince Bishop spans many genres and have progressive rock undertones, there is one style that resonates with the group.

“I think the blues really informs everything we do. Rock music, it all comes from the blues. I don’t know, there’s something about All Is Due that feels quite bluesy. It underpins everything both soni cally and thematically,” confirmed Ben.

With the album release imminent, the band is looking for opportuni ties to perform their latest release on the road. “We were hoping to do a launch gig on the actual launch date. I’ve spoken to The Cluny in Newcastle about book ing it, but unfortunately, we just couldn’t we couldn’t get everyone available on the same date. So, I think it’s probably going to be January time,” said Ben. “I can’t wait to get to gigging. I think the material really comes to life,” con cluded Trenerry.

All Is Due, the debut album from Prince Bishop, will be released everywhere on Friday, 25th No vember.

Words: Adam Kennedy

Photo Credit: Press/Supplied

FORGOTTEN SONS

Emerging from Shetland Isles, Punk rockers Forgotten Sons are preparing to unleash their self-ti tled EP in November 2022. Talking with Drummer John Gair and Bass ist Steve Ferguson, we discussed the making of their new EP, their new video for their single Flip Side and what 2023 has lined up!

The trio are a combination of school friends and skaters who formed from a jammin’ session back in 2015. With the addition of Steve in 2019 the band now focus on their new music and getting on the road for 2023. The first single from their new release Flip Side was a group choice as the lead sin gle, John explained “we think it’s got quite a positive message. So we thought that was a good way to lead off as a statement of intent for the rest of the EP. Sandy’s very much he’s always wanted to put that phrase in a song – catch you on the flip side.”

The idea of skateboarding com monly linked with this genre holds an influence too, with the main environment for their accompany ing video to Flip Side being a skate park. John described that he “grew up skateboarding as Steven did and Sandy was a big major skater, so it’s kind of nostalgic way of the nineties / two thousands of how we grew up with music and just kind of made it feel really good. The video ties in as a harp back to that kind of early garage and skate punk videos and that was a big influence, and the aesthetic of the video and also the artwork for it as well. So we felt it definitely tied the whole thing together.

The EP we’ve written kind of in a way that we’ve never written before and everything has all been very much shared between the whole band. So, there’s been anybody holding anybody back for coming up with ideas, anything can go on the table, and we all took a stab at writing absolutely everything between all the instru ments. I would say it’s very much been a massive, shared process with each other, and I think it’s made it the best work that we’ve done yet just through everybody being honest with each other. There are certain songs where obviously one person had come with the bulk of an idea, but every single song has been all adapted by the whole band. It’s been a proper collaborative process and it was actually really good fun making it that way. We never felt held back. It feels that every single track is genuinely where we all wanted it to be. It was really good fun to make.

We do all our own recording production and our videos; abso lutely everything is all done by ourselves, so everything that you see in here is all a hundred percent produced by ourselves. John has pretty much built his own studio in effect and all the production, all the artistic direction, everything we’ve done with the videos has all been done in house. I think we like it that way.”

A key component to the creation of this EP was the artistry free dom, John and Steve explained “a lot of time when you go into the studio you have to be very sure of what you’re going to do because

you’ve obviously paid for studio time. But for us it’s very much we meet up and we get some ideas, and we build on it, so we’ve not got any time constraints and we just make it and stop when we’re finished or when we’re happy with what we’ve got.

There’s not that pressure to having a label or having deadlines. We can just let the songs breathe and we stop when we are happy with it. It’s quite nice to be your own boss in that sense. We’ve gone down the label route before and I think the approach we have just now where we’re doing everything in house and we’re actually doing it for ourselves as a group is much more productive. I think it’s a bet ter way of working; no pressures and everybody’s happy.”

As vinyl record consumption has increased over the last few years, Forgotten Sons have taken the idea of physical artifacts to the next level by creating cassette tapes which will be available as part of their upcoming EP release. “We chose to release the way we have because I think that there is a lot of value and still having phys ical copies of music. So, we want ed to make sure that yes, we’re aware that the majority of our music will be consumed digitally because that’s just how the market works just now that’s how people choose.”

Forgotten Sons brand new self-ti tled EP is out Friday 18th Novem ber on vinyl, cassette, CD and streaming formats. They’re cer tainly a band to keep a lookout for during 2023!

Words: Charlotte Hooper

Photo Credit: Press/Supplied

Christone Kingfish Ingram

“They Call Him Kingfish”

Some artists wait their entire lives to receive an award as prestigious as a Grammy. But at just 23 years old, Christone Kingfish Ingram picked up the high-profile accolade at this year’s Grammy Award cere mony, where he was bestowed the gong for the best Contemporary Blues Album for his sophomore release 662.

Christone is part of the Alligator Records roster. A blues label with a rich heritage. Founded by Bruce Iglauer, Alligator has released albums for legends of the blues genre, such as Koko Taylor, Mavis Staples, Luther Allison, Hound Dog Taylor, Buddy Guy, Albert Collins, Junior Wells and Johnny Winter, to name but a few.

Kingfish is presently forging a path for the next generation of blues artists. Having toured the UK three times already during 2022, includ ing a dream date supporting the Rolling Stones at Hyde Park, the award-winning artist is presently on a headline run in support of his latest offering. Adam Kennedy recently caught up with the Mis sissippi native before his show at Northumbria University in Newcas tle.

You are out on tour across the UK. How have the shows been going so far?

Everything’s been going great. This is our third time back over here. The energy has been won derful. So yeah man, it’s been like we never left.

You played in the UK earlier this year at Hyde Park alongside the Rolling Stones. What was that experience like for you?

Man, it was unreal. I don’t think I’ve ever really seen that many people out like that. We were the only band that played two sets. So, I think they really liked what we did, and it was perfect. I got a chance to see the Stones for the first time, which was a great thing.

Your latest album 662 received a Grammy award this year. What was that experience like for you to receive that level of validation?

I still can’t believe it. Because for me I’ve always been about music. After the first nomination with the album, I was like, okay, cool - it’s nice. But I wasn’t really pushing towards that for me. I just wanted to show what I was doing to blues. But it’s unreal man. I still can’t believe it. I have it sitting in my kitchen on the table. I pass by it, and I just stare at it.

Tell us a little bit about your album 662 and how it came to fruition.

Well, honestly, because of COVID, we stopped touring and got on lockdown. We felt like it was the perfect time to make a new record. So me, Tom Hambridge and Rich ard Fleming, I want to say from May all the way down to Septem ber, we pretty much got on Zoom sessions and wrote songs togeth er. I wanted to showcase what had been going on in my life - the

triumphs, but the pain as well.

You recently teamed up with Mississippi rapper Big K.R.I.T, and you recorded a revised version of Another Life Goes By. How did that collaboration come about?

I met K.R.I.T in a hotel in LA, in the lobby, and we just exchanged info’ from there. When we were making the song, we thought with everything going on with the pro tests and everything, it would be cool to make that song again with a rapper. So, we were thinking, who could we use? And Big K.R.I.T came to mind because we know him. So, we hit him up, and he was gracious enough to do it.

The album title relates to the area code for Mississippi. An area that is synonymous with the blues. Being born and raised in that area, you must have been exposed to blues music from an early age?

To show you how deep it was, I lived right next to a blues band at a young age. So, I would go and sit in with them. I would just soak it up at their Juke Joint parties and go to the Delta Blues Museum and learn and stuff like that. So, it was pretty much a blues city, for sure.

How important would you say the Delta Blues Museum is to a young artist such as yourself?

It’s been great because in Clarks dale, if you want to do something, you need a resource to go to. Fortunately, the blues museum was my resource there. I can learn

about the blues, all while learning how to play an instrument at the same time - that was my interest. So yeah, it worked out perfectly.

I hear stories of Clarksdale and the Crossroads and venues like Ground Zero. What’s the music scene like in Clarksdale these days?

Well, a lot of the older guys have died, or some of the older blues men. But no, it’s still kicking. We have some of the local musicians still playing seven nights a week. Ground Zero is still up. Red’s Blues club is there - it’s still kicking for sure.

Which guitarists from Mississippi would you say inspired you to start learning to play?

A whole heap of them. Well, first, I would like to say that a lot of the local guys who weren’t big names - those were the guys that I saw with my own eyes first. Big Jake Johnson, and Michael James, these were all local legends in the blues world. But then when I started learning, of course, Son House,

Robert Johnson, Albert King, B.B King, Robert Nighthawk and Magic Sam.

Your tour is named Juke Joint Live. Juke Joints are something you might find in the US. What’s it like playing at these intimate clubs?

Man, it’s amazing. For me, it’s comfortable, because that’s what I came up in. Back when they would let you smoke in the club, the smoke would be thick, and people would be drinking. It’s just people having a good time.

They always say that the second album is the hardest for an artist. How did you find recording 662 against your first album?

I wouldn’t say I felt the pressure. The only thing that kind of crossed my mind was the first record was blues and rock heavy. This one, we branched out, and I didn’t know how people were going to respond to that. But then, sometimes, you just have to take a leap of faith and get there.

You are part of the Alligator Re cords roster, which is a label with great history. How does it feel to be part of a roster like Alligator?

It’s cool, man. I was a big fan of Hound Dog Taylor and Koko Taylor, all those cats. So to be included in some way with them is a beautiful thing. There’s so much blues history.

Have you thought about how next year looks? What’s on the cards for you?

Yeah, I’ve got a couple of things in motion right now. I’m in the period of changing my show and adding more things to spice up my sound. I’ve got three months of off time coming up, so that’s studio time. So, I can’t say when the next re cord will be out. But just know I’m about to do some more music.

662, the Grammy Award-winning album from Christone Kingfish Ingram, is out now via Alligator Records.

Words: Adam Kennedy Photo Credit: Justin Hardiman

JOE LYNN

Rock legend Joe Lynn Turner re turned this year with a new album, a new sound, and a new look to boot.

The former Rainbow frontman’s latest offering is titled Belly of the Beast. “It’s an old phrase,” he said. “Certainly, I didn’t invent it. There have been movies called Belly of the Beast.” Even thrash metal outfit Anthrax had a song with the same title, so in that respect, this is by no means new terminology.

However, what was it about the title that resonated with Turner? “I had to call it this because the reality that we’re in right now, or the matrix in a way if you go that far, that we’re in right now is descriptive of the belly of the beast,” said JLT. “It’s a geopolitical system. A financial system that we live in. Right now, I think the whole world is being threatened by their freedoms, their rights, their very existence really. Food shortages, energy shortages, and economical ly. So we are sincerely in the belly, we’re not on the surface, we’re being eaten alive.”

The album, in this respect, is some what of a battle cry. “This was a very important message for me to get out and to shake people up,” said Joe. “Art should be a reflection of society, and the society that we are living in right now is exactly in that position. We are in trouble. If we don’t wake up and start to take action on this, it’s going to be too late.”

From a musical point of view, per haps Belly of the Beast is a little heavier than one might expect from Joe Lynn Turner. “The vision was to keep it sort of modern melodic metal. It’s not death metal, it’s not thrash metal, and it’s cer tainly not AOR. There are elements of course, as you can sing melo dies you’ll remember. So, we want ed to keep that in a narrow space where it’s a vision of that, but I think it has its own sound really.” Of course, that’s not to say there isn’t something for the old-school fans. “There are some classic JLT moments like Dark Night of the Soul ballads, but they’re done with a bedrock of modern-sounding metal music, and then I would adapt my voice to that medium.”

The album also marks a new chap ter for JLT. Having been diagnosed with alopecia at the age of three, the artist began to wear a wig at 14 years old. At this point in his career, the singer has finally decid ed to go without. “I feel completely refreshed, reborn, re-enlightened. I think the time off gave me time to reflect on a lot of things,” he said. “I think I feel fresh again. I have a new look, a new sound, and a new identity in a way. After all, music is entertainment. So, I am enter taining, but at the same time, I’m trying to put out a message. So, I want you to have a good time with it. But I want you to listen in. Take it to heart and be serious about what I’m trying to say.”

The artist’s new look has given him a new sense of freedom. “I think the word is liberation,” he said. “It was an open secret. It wasn’t

trying to be hidden. It was just a preference because, in the day, you needed to have a uniform. You needed to have the long hair, and you needed to have the tight jeans. And you needed to have the chains and all of this. There is still the uniform out there. Every band in a matter of fact, comes out like a cookie-cutter band, trying to imitate the genres, whatever genre you might be in. That was defin itive for that era. Now, this has become fashionable.”

With JLT’s openness about his con dition, he wanted to help others who may also need help coming to terms with their ailments. “I wanted to help inspire and moti vate people, no matter what their challenges are. No matter what their adversity in life is,” explains Turner.

Joe Lynn Turner will be performing at HRH Road Trip in Ibiza in 2023. “I have been looking forward to that,” he confirms. “I’m a beach kid from way back from the Jersey Shore. So, I’m into the sea and the beach and the water and the boats and everything else.” He concludes: “Not only am I looking forward to the event, but I also think it’s a hell of a cool place.”

Belly of the Beast by Joe Lynn Turner is out now via Music Theo ries Recordings. You can also see the artist perform at HRH Road Trip in Ibiza between 2nd-10th May 2023. For booking details and further information, please visit https://hrhroadtrip.com/.

TURNER

Words: Adam Kennedy

Photo Credit: Agata Nigrovskaya

WALTER TROUT

The origins of blues music are steeped in tales of woe and hard times. And when it comes to the latter, Walter Trout has a lot of ex periences to share. Having battled a life-threatening illness, the US blues great returned to the road, only for the pandemic to halt the artist in his tracks.

With his landmark 30th solo album Ride released during the summer, the artist reflects on his career, his illness and his life during lockdown. “I went through all that illness and almost died and came back. I was just really enjoying my career, and then everything just stopped,” said Walter. “I kept thinking to myself, I don’t know how much longer I have here. Time is wasted, and I have music I want to make.”

Walter’s health battles and his life-saving liver transplant are well documented. The artist released his autobiographical album Battle Scars in 2015, which in turn illustrated the artist’s life during that time. At this point in his career, Trout is enjoy ing being on stage again. “When I get up and play, I feel like I’m 25 years old. But then, when I look at my career and realise how long I’ve been at it. I started playing profes sionally in 1969 - so we’re on 53 years,” said Walter. “I know that I’m going to have some music to leave behind when I finally do go to the big jam session in the sky there. But I want to make more records. I want to write more songs.” He jokes: “I’m in a creative burst, especially after sitting on my ass for two years.”

For the legendary performer, music is not just a career, but his songwrit ing also acts as a kind of therapy. “I tell this story on stage quite a bit, that after my illness - I had to relearn how to play the guitar. I had to start over, and I worked on it for a year. My wife and my kids said to me, hey - we’re really glad you’re back, and we’re really glad you can play the guitar again. But we’ve got to tell you, you’ve been through a lot of trauma, and right now, your kind of a pain in the ass to be around - you’re not a very nice guy. My wife said, you either need

to go talk to a therapist about what you’ve been through, or you need to write some music about it,” explains Walter. “She gave me that idea, and I wrote the album Battle Scars, which the entire album is about my illness. As a matter of fact, I wrote 18 songs in two days. So that was the same as talking to a therapist for me. After I wrote that album, I was a different person. I got it all out.”

Aside from his solo career, Walter Trout has performed alongside many of the greats of the genre. The artist recollects his time alongside Big Mama Thornton. An artist who is perhaps best known for her record ing of Hound Dog – a song that later was recorded by Elvis Presley. “I had a great time with her, and I loved her. She was really fun,” said Walter. “It was near the end of her life. So, I always tell people she was really small emaciated Mama Thornton. She was ill, and she sat on a chair, and wherever we played, it didn’t matter the size of the venue; she always put a hat out in front of her and asked for tips, which is really from old school playing in the juke joints.” Walter Trout remains wistful about his time with the late great blues woman. “I have recordings of her where she gives me solos, and at the end of the solo, she goes let’s hear it for Walter on the gui tar. Every time I hear her say that, I break down and weep. She was very generous to me,” said Walter.

When first introduced to Big Mama Thornton’s band, Walter was im mediately put to the test. “I first got into the band, and we didn’t rehearse. It was like, you show up tonight, and you’re going to play with Big Mama Thornton,” explains Walter. “I’m in the dressing room, and I say, hey, Mama, we haven’t rehearsed. What are we going to play? And this is what she said to me. She goes, all you’ve got to do is play like BB King. She goes, I don’t want to hear any psychedelic guitar - play like BB King. When my first solo comes up, she goes ladies and gentlemen, this boy over here is going to try to play like BB King.” A baptism of fire, perhaps you will agree.

However, this wasn’t the only time the artist was put to the test. “The same happened with John Lee Hooker - we didn’t rehearse,” explains Walter. “You need to know the vernacular of the blues, and if you know that, they will put you in there, and they will trust that you’re going to be just fine. With John Mayall, we’d be playing at the Royal Festival Hall, and he would turn around and say, key of C, and he’d count the four, and off you go.”

With the pandemic in our rearview mirror, Walter Trout is touring relentlessly, including a recent UK tour. “I’ve had a lot of people tell me it was the best they’ve ever seen me and my band. We were blazing man. We were having such a good time. Everybody in the band was so hap py and just excited to get back to what we do. We just really went for it. We were very happy to be there, and the shows were all packed. It was just a great experience that that UK run.”

With his new album Ride released earlier in the summer, moving for ward Walter Trout has no plans of slowing down. “I’m working really hard. As my wife says, If I’m still alive by the end of December, then I’ll keep going,” said Walter. “If you go on my website and look at the tour dates, it’s actually ridiculous. After not working - any time the offer of a show came up, I just said yeah, take it - I don’t care.” And who could blame him after such a prolonged period of downtime. “Even my band, we look at it, and they go, we hope you’re able to do this, Walter.” Trout concludes: “I’m gonna give it my best shot.”

Ride, the landmark 30th solo album by Walter Trout, is out now via Provogue.

Words: Adam Kennedy Photo Credit: Alex Solca

REVIEWS

THE MERCURY RIOTS

HRH SLEAZE V, SHEFFIELD

A very pleasant surprise was awaiting the crowd attending HRH Sleaze 2022 in the guise of Stateside favourites, The Mercury Riots. Having driven through the night to make the show, the guys landed in Sheffield without a minute to spare but took the stage by storm, delivering one of the most impressive sets of the weekend. The Mercury Riots are still a relatively new act. They have been a band for less than three years but have gathered a huge following here in the UK, Europe and beyond. Having played their debut HRH show at Sleaze 21, just before The Quireboys, these guys won the hearts of the HRH family right there and then and, due to popular demand, can be seen again very soon at HRH 15.

On record, The Mercury Riots have a rock n roll sound that somehow manages to combine a fresh take on the familiar. The sound is pure, with great musicians playing great tracks, with all the catchy lyrics and hooky guitar riffs that grab you by the core and make you want to move. Live, however, these guys really know how to put on a show. The Mercury Riots begin by expressing their love of being back at Sleaze, and it is more than clear that the feeling is mutual. As Zach Kibbee looks to the crowd, clutches his bass guitar and smiles, guitarist Felipe Rodrigo plays the intro to the opening track, Make It, and drummer Jonny Udell, barely visible in the dark, brings us the beat.

The Mercury Riots deliver their set with passion, energy, and edge. They intersperse new tracks, Time To Go, 99 Degrees and Riptide, with fan favourites, Light It Up, Sweet Melody and a very funky cover of the Hot Chocolate classic Every One’s A Winner. The guys then bring the house down with a crowd invasion from Zach during the barroom boogie of Good Time Overload, and soon the whole room is singing and swaying their hips. Back to the stage for Take Me When You Go, and then it’s Felipe’s turn to escape the stage. Effortlessly maintaining his prowess, he prowls and plays on and then, sadly, he is gone, and we are almost at the end.

A huge party ensues during Save Me A Drink. They sing while the room sings back in joyous camaraderie and, as they close the show to rapturous applause, The Mercury Riots take a bow, and the crowd are left happy in the knowledge that they got to witness something very special indeed, from a band that is poised on the verge of greatness.

Words: Viki Ridley

Photo Credit: Simon Dunkerley

ELVANA UNPLUGGED

THE GLEE CLUB, BIRMINGHAM

Emerging from Disgraceland, rock n roll grungers Elvana blew the roof off of Birmingham’s Glee Club in September with a modern reformation of a total classic. If you’ve not discovered this tribute act before, they are an Elvis Fronted Nirvana tribute band who play Nirvana tracks in an Elvis-styled way. This is the combination no one ever knew they needed and before you say it, yes – they know. The King does not look like Elvis.

Their support was non-other than twins Talk Like Tigers, who also sing backing vocals for Elvana‘s main sets. Strutting on to the stage in their Gala-esque ensembles and their infectious smiles, the duo performed a number of tracks off their recent double EP Passion Fruit and Feminine Power, with the opening number even featuring on an episode of Made in Chelsea – which they were “really happy about!”. Just before their closing song, Charlotte and Stephanie did a stripped-back cover of The Cranberries‘ original track Linger which could be heard sung back amongst the crowd. A set filled with hypnotic, electronic, indie-pop goodness!

Returning to ‘Birminghamshire’ and recreating Nirvana’s legendary MTV Unplugged set from New York in 1993, Elvana took to the stage that mimicked the lillies and candlelight ambience we all associate with this landmark performance. But adding their own twist to the stage was The King’s velvet topped toilet which later revealed his secret stash of Skol to fuel the latter half of the set.

Starting on a high note with the same opening track as the original recording, the crowd cheered to the sound of About a Girl, but this was surprisingly twisted into It’s Now or Never which took everyone by surprise as a wave of laughter rippled throughout the venue!

Something that made this so unique and ultimately epic, was the one-liners that were originally expressed by Kurt Cobain back in 1993 used within the fills. For example, before the first song began, The King quoted “This is off our first record, most people don’t know it” which certainly got smirks perked across the audience. This was continued throughout the set replicating classic lines such as “What are they tuning a harp?”, “I guarantee you will screw this next one up” and even adding their own twist to a few, including the introduction for Jesus Don’t Want Me For a Sunbeam, stating “we do it the Nirvana way, doing it the Vaselines’ way“.

Many stories were told during the night, which broke down the barrier between the band and the audience, as well as The King dancing and thrusting in the aisles. One particular story that stood out was the tale of Boston Bowie. The King reminisced about a time the band travelled to America and joined a line-up with a David Bowie tribute band. He asked Elvana if they were going to perform Man Who Sold The World and if he could join them on stage. So the time comes when they invite Boston Bowie to the stage to sing and just as the lyrics kick in, he forgot every word. Later on, whilst still in America, Elvana played a Hard Rock Cafe and to their surprise, Boston Bowie was set to make an appearance at the same event. He asked again if the band were playing the Bowie hit to which they explained they hadn’t planned it into the set. Well, they closed their set at Hard Rock Cafe with Man Who Sold The World and absolutely nailed it! It’s these stories and the openness of the band that people absorb and adore. The topic of internet trolls was even discussed, saying they receive comments like “but you don’t even look like Elvis” to which they responded with “we know. It’s just a bit of fun“. When ‘Paul The King‘ went for a costume change, Stephanie and Charlotte teased the audience with a snippet of their next musical project Unholey, a music set that explores covers of Courtney Love‘s grunge group, Hole, by performing a gorgeously unique version of Malibu.

Overall, this performance demonstrated seamless transitions between the Nirvana ageless set list and Elvis anthems. From combining Dumb and Always On My Mind to In The Ghetto and Something in The Way – each song was incredibly well thought through and displayed a genius composition.

To conclude the night, The King got everyone up on their feet and singing along to Elvis’ Suspicious Minds. I glanced around the room and saw people of all ages, all backgrounds, in Slayer tops, Taylor Hawkins Tops, Motorhead, Black Sabbath and other rock attire, and I saw every single person was singing their hearts out. And THAT was a moment that I definitely, will never forget.

Words: Charlotte Hooper Photo Credit: Adam Kennedy

STEVE HACKETT

SYMPHONY HALL, BIRMINGHAM

If someone were to say in 1972 – when Foxtrot was released – or in 1977 – when Genesis became three– that Steve Hackett would be the one carrying the banner forward and keeping the Genesis name alive, in 2022…. you would have been called insane! However, this is exactly what he is doing and has been doing since 1996. All of the Genesis albums that include Hackett’s input, have passed their 40th anniversary and now they are starting out on their 50th year around the sun. The first of these is ‘Foxtrot At Fifty’. As is always the way, these concerts include a number of Hacketts’ solo works before the touring Genesis album of choice, is played in full. This tour was no exception.

At Birmingham symphony hall on this particular night, and following a national minute of silent reflection, Steve Hackett and his band came onto the stage in a flood of multi-coloured lights to rapturous applause from an audience who had, from my viewpoint, an average age of 60/70 and were predominantly male. Opening with Ace of Wands from his very first solo album Voyage of the Acolyte, the band then came straight up to date with The devil’s Cathedral from the 2021 album Surrender of Silence. For the rest of the first half with the exception of Camino Royale from Highly Strung, all the other songs were taken from Voyage of the Acolyte, of which there was a rare outing for A Tower Struck Down. Steve was very happy to chat in between songs, having a joke or two and reminiscing of his brother, John’s, input into some of the compositions being played.

After a short interval, the whole band began their performance of Foxtrot. Opening with Watcher of the Skies through to Timetable, Get ’em out by Friday and Can-utility and the Coastliners, Hackett himself commented that he hadn’t played most of these songs for the fifty years since their original release. Finishing ‘Side 1’, he took centre stage with the solo, Horizons, which was extended by a flamenco guitar style opening and then directly into the big crowd pleaser of the night, Supper’s Ready…. During the whole

performance of the album, there were nods to the Peter Gabriel era Genesis with costumes and acting out lyrics from all the songs by singer Nad Sylvan… No red dress or foxes head though, unfortunately…

Leaving the stage to people on their feet shouting and cheering, there were grown men, me included, in tears as we remembered perhaps, the first time we had heard Foxtrot or our lost youth that was brought back to us even just for those few hours.

Quickly returning for their encore, cheers rang out as the opening notes of Firth of Fifth began. Then with a call of “Do you want one more?“ …many of the crowd started yelling for The Knife, however an unexpected medley of Myopia from Till we have faces, Slogans from the brilliant, Defector and finally the Genesis stalwart, Los Endos brought this step back in time to a close.

Steve and his band quite rightly stood back, simply looking around the audience and up at the crowds in the circle and upper circles of the symphony hall. The whole band deserve a mention here; along with Steve Hackett who was playing phenomenally well for a man now in his 70s, was singer Nad Sylvan, who is a respected solo artist in his own right. The rest of this outstanding band are Roger King – Keyboards, Rob Townsend- woodwind/percussion/bass pedals/additional vocals, Jonas Reingold – Bass/12 string guitar/ bass pedals/ additional vocals, Craig Blundell – drums/percussion/ additional vocals

For anyone who loves Genesis, seeing Steve Hackett is a must. The memories will come flooding back from a more innocent age and a time when crowd participation consisted of everyone shouting....’A Flower?’

Words: Steven Hooper

Photo Credit: Adam Kennedy

CARDINAL BLACK & LAURA EVANS

THE WHITE HOUSE, ASHINGTON

Perhaps Ashington isn’t necessarily the first place you think of when it comes to live music. However, when two of the hottest names on the scene descended upon the Northumberland town, it certainly put the area on the map. On Friday evening, the White House in Ashington marked its first live show since January 2020, and what a way to return with a Welsh double header courtesy of Cardinal Black and Laura Evans. As expected, a sold-out crowd was in attendance.

Of course, Laura Evans is no stranger to the North-East of England. The artist has performed twice in the region this year, with dates at both the We Are Back Festival as well as a support slot alongside Robert Jon and The Wreck. Evans is currently touring in support of her recent album State of Mind. Several tracks from the album featured in Laura’s thoroughly enjoyable set, including Solo, a combustible rendition of Fire with Fire, and a heartfelt airing of Fool.

The artist’s country/rock influences shined through during a stunning cover of Chris Stapleton’s Arkansas. Laura’s infectious smile, engaging personality and spellbinding voice radiate throughout the proceedings. So much so that the artist closed out her set with a bit of singalong with the locals during I’m Alright. On this occasion, Laura is joined on stage by guitarist Joe Coombes. Whether Evans is performing as part of an acoustic duo or with a full band, she knocks it out of the park each time.

Laura’s fellow countrymen Cardinal Black have been making waves since their recent formation. Despite the newness of the band, three of the members of the group (Tom Hollister, Chris Buck, and Adam Roberts) have been performing together for many years. Even their online bio suggests that Cardinal Black are “the oldest new band in the world …”

Many of the audience in attendance recollect the band’s recent

Newcastle show with Alter Bridge’s Myles Kennedy. With the Ashington crowd thoroughly warmed up courtesy of Laura Evans, the group takes to the stage and opens their set with their recent single Rise Up. What is immediately apparent is Hollister’s soulful voice and Buck’s emotive and atmospheric guitar playing. It’s a formidable partnership, for sure.

Besides their debut EP and a few singles, a lot of the material performed during the band’s set is very fresh. The release of the group’s debut full-length album January Came Close is imminent ( October 14th), but those in attendance at The White House got a taste of what is to come. Buck’s incendiary playing shined through during the new song Ain’t My Time, along with a standout solo during I Don’t Care. Furthermore, Hollister’s witty banter and soulful delivery entertained the audience throughout. The frontman struck a chord with the Northumberland crowd.

For the Cardinal Black fans who have been there from the beginning, all the tracks from the band’s eponymous EP featured in the set, including Jump In, Where Do You Go and Warm Love. Whilst the opening track of the EP, Tell Me How It Feels, brought the main set to a conclusion.

A three-song encore which started with an acoustic ballad performed by Hollister and Buck followed. Whilst the band very quickly changed gears with the Otis Redding/Stax tinged sounds of their new single I’m Ready. Cardinal Black brought the proceedings to a close with an epic rendition of old favourite Tied Up In Blue.

Based on this performance, all we can say is that the band’s new album is going to be worth the wait. Looking around the room, you get the feeling that the North-East audience witnessed something special. Cardinal Black’s appearance in Ashington is going to be one of those I was their gigs. What can we say – Laura Evans and Cardinal Black – now that’s a long of bang for your Buck, if you will excuse the pun.

Words and Photo Credit: Adam Kennedy

URIAH HEEP

THE PALADIUM, LONDON

There’s a dense, sparkling constellation of star-crossed songs and albums in the legendary lexicon of pioneering music by this surviving British rock institution. Over the course of their fifty-two years, the numbers speak for themselves: 25 studio albums; 21 official live albums; over 45 million worldwide album sales and more than 4000 shows, and counting, played around the globe. Tonight, Uriah Heep finally brought their long-awaited and belated 50th-anniversary tour to The London Palladium. As a mark of their high and mighty status, a five-minute tribute film from bands and artists effusively extolling their heartfelt congratulations on Heep’s big 50 trailed the start of this evening’s programme. Following this, the band entered this legendary stage to the stars to firstly play an engrossing acoustic set of curated classic songs. Stripped back to a smaller front of stage arrangement of instruments, positioned just in front of the film projector curtain, Mick Box picked out the notes to a couple of rarely aired songs: Sweet Freedom’s Circus then Tales from The Magician’s Birthday album. Then came an uplifting Free Me with the charismatic Bernie Shaw encouraging the audience to sing

along, as he did for most of this evening’s songs. This preceded another rare and deep cut as Come Away Melinda topically resonated with the current state of world affairs. This cover song, that began its life in pre-Heep band Spice, sated the hardcore fans appetite for the career-spanning setlist unfolding into their ears.

‘If you’re going to confess, then there’s no better way to do it than in song’, asserted Mick Box as Confession morphed into Rain finding Bernie Shaw drawing sweet deep breaths from his lungs. These delicate renditions laid bare the raw beauty of these songs when stripped back to their core elements. Three tracks ‘glued together’ from the coveted Demons And Wizards album elicited loud cheers headed up by a magical The Wizard, with Paradise and Circle Of Hands rounding up this Heepful trinity of tunes. As Mick Box remarked, ‘a German DJ played this song and it went viral’, he strummed out Lady In Black leaving the audience singing it as the band walked proudly offstage to conclude the first half of this milestone concert. A poignant montage of vintage band stills and video clips, centring on Byron, Thain, Kerslake and Hensley also John Wetton, Lawton and Trevor Boulder RIP, heralded in the second and electric half of tonight’s giving it back to the fan’s concert. From the very ‘Umble start to the very ‘Eavy main course, openers Against The Odds and The Hanging Tree

were akin to Tyson Fury delivering the sweetest of punches to the solar plexus. With everyone catching their breath, Heep further unloaded a barrage of fan favourites in a sonic blitz that will remain seared into the cerebral cortex of every attendee lucky to be here tonight. Highlights included Dave Rimmer’s pumping bass on Sweet Freedom’s Stealin’ ramming home the unstoppable febrile productivity of Heep’s back in the day top-grade output. A latter-day Too Scared To Run and What Kind Of God contrasted beautifully with these landmark songs.

Like a cathedral of sound that has gathered different periods and fashions, whilst remaining true to its foundations, there’s a genetic lineage of trademark songwriting connecting all incarnations of this shape-shifting rock band. More proof of this arrived as a welcome outing of Traveller In Time, and a racy Sweet Lorraine, worm-holed tonight’s congregation back to the 70s. Talking of which, there’s something visceral when a full-force Hammond Organ, courtesy of Phil Lanzon, engages with a fuzzedup guitar to pulverising effect such as on Rainbow Demon. It’s a hallmark of classic 70s British rock successfully exported across the globe and Heep is one of the undoubted progenitors of this genre. Sunrise with its high pitch wailing vocal harmonies added to Bernie Shaw’s mesmeric onstage reputation as he resoundingly hit all the high notes. Furthermore, drummer extraordinaire Russell Gilbrook produced a peerless percussive, and concussive,

masterclass throughout tonight’s incredible show. ‘Let’s give ‘em some heavy metal’ exclaimed Bernie as Free ‘n’ Easy let loose a pulverising sonic thunder of sound. Any band worth its salt has an epic song up its collective hand-me-down sleeve and Heep has, well, heaps of such as the tender crescendo of July Morning brought an end to a mostly bone-shattering second set. However, ratcheting up the decibel levels, Mick Box and the boys returned to crunch out the heavy dramatic thrust of Gypsy as this celebration of Uriah Heep’s heritage ended on a mighty high with Easy Livin’ sending a delirious audience into a mass reverie. The camaraderie between this band and their audience is a rare sight to behold especially on nights such as these. More ‘appy days will certainly come with a new album on its way. As ever, it’s those behind the scenes who never seem to get the major props that they deserve and Ian Bintliff, known to those in the trade as ‘Scampi’, produced a sensational light show. Moreover, he curated superb film sequences that visually told the tale of Heep’s journey from their formation to this delayed fiftieth-anniversary tour. Lights out, London. Until the next time…

Words: Paul Davies

Photo Credit: Eric Duvet

DELILAH BON

THE CLUNY 2, NEWCASTLE

Whilst the pandemic era curtailed musicians’ ability to tour, it allowed creatives to experiment with their craft. At least, that was the case for Hands Off Gretel’s Lauren Tate. With limited opportunities to perform live, the Yorkshire native took time to reflect as well as push herself musically and artistically. Subsequently, Tate’s latest alter ego Delilah Bon was born.

By her admission, Lauren’s latest project was never intended to be taken on the road. However, the artist’s music, message and debut album struck a chord with her loyal fanbase, and as such, it became clear that the artist’s followers were keen to see a live Delilah Bon show. Fast forward to the present day, and Lauren Tate has taken to the road on her first ever Delilah Bon solo headline tour.

A few days into the artist’s current run Delilah Bon arrived at The Cluny 2 in Newcastle, where a packed-out crowd awaited her. But it was not only the headliner who captivated the Tyneside audience, but a strong undercard featuring Bizarre Fae and the North-East’s own Abi Nyxx delivered high-energy sets and received a great response early in the evening.

The beauty of Tate’s latest project is that it transcends genre. Seamlessly integrating punk, nu-metal, and hip hop with ease. And what’s more, Bon’s lyrics and rhymes have more hooks than a fishing tackle shop. “Homework,” which featured early in the set, was a perfect example of this and proved to be a real earworm.

Delilah Bon has given Lauren a platform to promote safe spaces for women at concerts. And before her performance of “Red Dress,” the artist passionately discussed this subject. With the front row

packed with a large congregation of the artist’s female fans, Tate frequently engaged with her audience as she prowled from side to side. Ferocious head banging, hair-flicking bass player Ruena and DJ/Hype Girl Tasmin Taylor completed the live band. Collectively the trio worked so well, particularly during their choreographed dance routines, which occurred throughout the proceedings.

Delilah’s theatrical stage antics set her apart from the rest of the underground scene. The artist’s visual routines included baseball bats during “Clown”, axes throughout “Cannibal Summer,” and even a bubble machine at the start of “Bad Attitude”. Each of these props elevated the passion and intensity of Tate’s performance. The artist’s aesthetically pleasing four-song interlude was one of the highlights of the evening.

The inclusion of “Devil” showcased the breadth of Bon’s repertoire. The song is the perfect example of a rap/metal crossover number. Whilst the versatile artist put her stamp on “Chun Li” by Nicki Minaj. Delilah Bon continued to explore the hip-hop genre with a cover by way of Eminem’s “Godzilla,” during which she changed the words whilst simultaneously showcasing her lyrical prowess and flow.

With the sounds of horror movie soundtracks resonating around the room, the artist left the stage with the audience chanting for one more song. As the old saying goes – ask and you will receive. The band returned to the stage and teased the audience with “I Don’t Listen To You”. When the song is finally performed in full, it is delivered with passion and intensity. Bon concluded her set with the recent single “Dead Men Don’t Rape”.

With her latest project, Lauren Tate continues to break boundaries in many ways. What can we say – with Delilah Bon, you get more than just a gig, you get a show.

Words and Photo Credit: Adam Kennedy

LOZ CAMPBELL BEAUTIFUL LIAR

British rocker Loz Campbell is getting ready to release her new single Beautiful Liar. The latter is the second single to be taken from the artist’s forthcoming self-titled EP.

Although fans will have to wait un til next year to get their hands on the full-length EP. The plan is that it will feature three studio tracks and two live favourites. Of course, Loz Campbell is known for her no holds barred live performances. The Yorkshire native has already drawn comparisons to legend ary artists such as PJ Harvey and Shirley Manson from Garbage.

Beautiful Liar will be released on Friday, 4th November, just one day before Guy Fawkes Night, and you can be sure that Loz will be bringing her own musical fire works to the proceedings. HRH Mag recently caught up with Loz Campbell to get the lowdown on her latest release and plans mov ing forward.

We are getting very close to the end of 2022. How has this year been for you?

As cliché as it sounds, THE BEST! This year has been full steam ahead, and Covid hasn’t impacted anything, which has been great. We have toured with some amaz ing bands, such as Richie Ramone, Eric Martin and many more. It has certainly launched this year, and it is great to be busy once again.

You have played live quite a lot this year, including shows with the likes of Richie Ramone, Eric Martin and Firekind, to name but

a few. Have you enjoyed getting back out on the road this year?

Absolutely it has been none stop laughs, and we have been riding the highs all year. We (me and the band) have literally lived together this year, it now feels weird if we don’t wake up together in a differ ent city. So grateful for the oppor tunities that we have had. I think we are all still buzzing from the Richie Ramone dates; they were pretty special!

With your forthcoming self-titled Ep planned for release next year, you are getting ready to release your second single from it, which is called Beautiful Liar. Can you tell us a little bit about the song and the inspiration behind it?

Yes, exciting times! This song is very much a follow-on from “Bad Girl” it is grasping tighter onto those heavy riffs and big chorus es, which we seem to have formed now as our style. The song is also a cheeky wink to watch out for the other “Bad Girls”, the “Beautiful Li ars”. It sprung from watching how people treat others and how love blind people can become, so the song is a warning to keep those eyes open so as not to get hurt.

Beautiful Liar follows in the foot steps of your previous single Bad Girl, which had some great suc cess as well as airplay. Were you happy with the response to the first single?

So happy with how “Bad Girl” was received yes! To the point where when we went into the studio to record “Beautiful Liar”, even

our producer said to us this next song needs to be HUGE to smash Bad Girl out of the water, quite a daunting task. “Beautiful Liar”, al though with that pressure behind it came together quickly, and I had the most fun I have ever had recording this song.

You worked with Tom Gittins once again on this release. What was it like working with Tom, and what did he bring to the table?

Tom is amazing. We are very com fortable working with him, and we have almost gained a new writing style; he has made us really think about our writing in depth. He is very good at hearing all the layers at the very start of the process. He also played bass on Bad Girl and Beautiful Liar; I love how the bass “pops” on these tracks.

The video for Beautiful Liar has been described as being “fastpaced”. Can you share with us any details about the video and the concept behind it?

It is the most fast-paced video we have done, and we did this be cause it compliments the track. The main opening riff is driving, and I think visually it gives the sense of being in a bit of a whirl wind which is what the song is about; getting lost in the love of a “Beautiful Liar”.

Besides Beautiful Liar, can you tell us about the other tracks on the new EP?

It includes a track that we tested out live, but when we took it into the studio, it evolved (as they

always do), and it will also include some live tracks that we recorded for the BBC.

Your music was featured on the New Wave of Rock n Roll compilation. Can you tell us a little bit about how that opportunity came about?

It was one of those magic moments where a lovely email lands in your junk box, and you say, “Wohoo, what are you doing in there!?” HA!

Your band features Steve Pickles (bass), Alice ABomb (guitar) and Tom Kirby (drums). Can you tell us a little bit about how long you have been playing together and

how you all met?

Tom and myself met when we were teenagers. I was on the panel for his battle of the band’s competi tion, but we didn’t start playing together until 2020 (when he was still a teen!). Steve was recom mended to us last year, so I believe his one-year anniversary is coming up very soon! Alice ABomb, we met at last year’s Christmas gig as she played a solo on the top of the bar, I thought she has to be in the band! So, her one-year anniversary is coming up as well.

It honestly feels like we have been playing together for years, we have formed strong bonds this

year and always have each oth er’s backs, and I think that really comes across onstage.

With the New Year around the corner, do you have 2023 mapped out?

We have a lot to announce over the next coming months, and we will be out on the road in February and March, just after the release of the EP, but I can’t say much more. Tickets will be on sale on the web site soon: www.lozcampbellmusic. co.uk

Beautiful Liar, the new single from Loz Campbell, will be released on Friday, 4th November.

Words & Photo Credit: Adam Kennedy

REVIEWSAlbum

RORY GALLAGHER

DEUCE 50TH ANNIVERSARY EDITION

What is the deuce going on here? A 4 CD box set of Rory Gallagher’s second album, from his remarkable and distinguished discography, with alternate takes, home demos and contemporaneous radio recordings is what’s going on inside this pleasure treasure just waiting to be devoured by any Rory or blues fan of whatever stripe (blue). This second (natch) release of the 50th-anniversary editions finds the original album of songs polished up like a suite of sapphire songs that sparkle even brighter with Gallagher’s raw approach - needing only one or so take to keep his live sound in the studio - thrilling on this edition.

Initially released in November 1971, six months, or so, on from his debut which followed his ear-catching time in Taste, with hindsight it wouldn’t have been a surprise if most established and aspiring blues guitarists had submitted a letter of resignation to the Musician’s Union and wandered off in a quest for a different muse elsewhere. Rory is on fire from the instant Used To Be shin kicks its way out from the speakers to the final album track Crest Of A Wave, all of which are further exposed with numerous versions: twenty-eight alternate takes of the album’s songs alone. The joy is that the listener also gets to hear a cache of these tracks live in concert from Bremen and The Paris Theatre. However, the magic is in the home demos that place the purchaser in the room with Rory. Available in multiple formats to suit the wallet and purse of all Rory fans, what the deuce are you waiting for?

Words by Paul Davies

THE COMMONERS FIND A BETTER WAY

Canadian outfit The Commoners are set to make a mark on Southern rock on November 4th with their full-length album Find A Better Way.

Find A Better Way is a brilliantly done album. From beginning to end, this album had my complete attention. The title track was mixed by legendary producer Kevin Shirley (Journey, Iron Maiden, Rush, Joe Bonamassa, Beth Hart, Tyler Bryant, Mr. Big, Europe, etc.) and talk about a way to leave a lasting impression! It didn’t stop at the first track either. The entire album played through with a nostalgic feel of the 60s and 70s. Eras long past yet relevant to this genre today as listeners crave music that’s meant to make them feel something and enjoyed without any pretence.

The Commoners’ sound is gritty blues rock, with hypnotic melodies, and dare I say at times, even a tad psychedelic. The foundations of their music are solid and show their prowess for writing and composition matched with production. The harmonizing backing vocals add rich depth that fills up the spaces you wouldn’t have given thought to without them being there but make you pay attention to them with their addition as they round out the sound. This is the kind of album that will be enjoyed for many years to come.

I feel this album fits alongside albums from other up-and-coming bands in this genre like Tyler Bryant & The Shakedown and Joyous Wolf who’ve been making a mark across the generational gap with their music and exceptional album releases over the past ten years. Much like the albums of the aforementioned, I couldn’t find anything I didn’t enjoy in Find A Better Way. This is an album you do not want to miss.

Words by Diane Webb

THE PRETTY RECKLESS

OTHER WORLDS

This latest offering from American postgrungers, The Pretty Reckless, comprises an eclectic mix of covers, collaborations, remixes and more. With contributions from Soundgarden’s Matt Cameron, multiinstrumentalist Alain Johannes and pianist Mike Garson, The Pretty Reckless offer up a unique take on both their own and others’ music.

From the opening track, the stall is set out with a laid-back electronica and synth-heavy take on Got So High from their 2021 album, Death by Rock and Roll. Followed by a cover of Loud Love from Soundgarden’s second studio album, Louder Than Love. Taylor Momsen’s unique vocals are an incredible alternative to Cornell’s original in a wonderfully faithful rendition of a classic tune.

The Chris Cornell theme continues with a cover of The Keeper, written for the movie Machine Gun Preacher. In this case, the guitar part was handled by Alain Johannes, a founding member of Eleven and who collaborated with Cornell himself in the late 90s. Long-time Bowie band member Mike Garson provides his immense talent in the form of a haunting piano movement to a cover of The Thin White Dukes’ Quicksand.

Acoustic reworks of songs from Death by Rock and Roll mostly fill out the remainder of the release with re-workings of 25, Only Love Can Save Me Now, Death by Rock and Roll and Hayley Darling.

Interspersed with these is a cover of Soundgarden’s Halfway There, featuring Matt Cameron on guitar and vocals and a strippeddown, acoustic cover of Elvis Costello’s (What’s so Funny ‘Bout) Peace Love and Understanding before rounding out the album with the original version of the opening track, Got So High.

This album is very much a love letter to the talent and influence of the late Chris Cornell, as well as giving some thoughtful makeovers to their previous work and is an absolute must for any fans of either The Pretty Reckless or Soundgarden.

Words by Simon ‘Spindles’ Potthast

ROBERT JON & THE WRECK

WRECKAGE VOL 2

So many bands, so little time. A point proven by not noticing Orange County, Californiabased Southern rockers Robert Jon and The Wreck sooner. My introduction to them was the uplifting single ‘Oh Miss Carolina’ taken from their Last Light On The Highway album, which was released on May 8th 2020. When I reviewed the release, it opened my mind to a genre I’m not used to, and my interest increased more by reviewing the subsequent album Shine A Light On Me Brother the following year.

Fast forward to September 30th, 2022, and the release of the mind-blowing Wreckage Vol.2 album via KTBA Records. It’s a captivating tentrack collection of exclusive in-studio and live concert performances from 2020-22. The album opener ‘She’s A Fighter’ is power chord heaven as they kerrang with aplomb with added tasty guitar licks and instantly memorable choruses that follow a lung-busting delivery from frontman Robert Jon Burrison.

Other choice cuts come from the following tracks. ‘Waiting For Your Man’ was the first single taken from the album, and it pushes the volume levels into the red for another rowdy rocker. Lead guitarist Henry James flies up and down his fretboard like a man possessed. They slow things down slightly for the magnum opus ‘Rescue Train’, a bonafide heart melter and firstclass ticket performance of the highest order.

An early album highlight comes from a cover of ‘The Weight,’ originally released in 1968 by The Band. The new version is gospel-tinged, and a midsection of laid-back keyboards makes it even more serene. ‘Old Hotel Room’ opens with the soul-searching lyrics of “Got me this hotel room, cocaine and a minibar, got no one to share with, just me and this old guitar”. A beautiful ballad which I hope they’ll play on their forthcoming 2023 UK headlining tour.

Words by Dennis Jarman

HIGH CORNWELL

MOMENTS OF MADNESS

Widely viewed as a poet laureate of punk and new wave for his singular songwriting skills across genre-defining albums and singles, Hugh Cornwell continues with his gimlet eye for observation and ear for a catchy melody on this raw guitar-led long-awaited latest solo record. Bugbears are slain with lyrical wit and rare personal insights are laid bare across emotional extremes with a feral sensitivity. Coming Out Of The Wilderness, the album’s opening song, is both a statement on the lockdown and a return to recording being four years since Hugh’s previous solo album Monster. Its Duane Eddy style guitar twang motif and lyrics such as “I’m coming out of the wilderness, learnt how to throw a bowie knife” demonstrate, in no little way, the art of survival as an artist in these troubled times.

Enveloped in a romantic setting, Red Rose finds Hugh lamenting the proliferation of tattoos as he opines “I don’t mind different types of jewellery, show it to me, just feel free; could be I’m missing the artistry.” He further releases his vitriol on tracks such as Too Much Trash with a coruscating viewpoint on consumerism and people who leave their litter strewn across the countryside blighting the natural beauty of our landscape. There has always been an obsession with the music of the sixties running right through Hugh’s work and Looking For You is imbued with the atmospherics of The Doors at their haunting best. The heavy dub reggae feel to the title track finds Cornwell on a musical detour he hasn’t taken before. Its overt Clash/ Strummer influences make for an interesting listen given their shared punk musical heritage. The witty and pithy Lasagne is a song about Hugh’s culinary delight. When I Was A Young Man is, perhaps, Cornwell’s most revealing song of his musical output as he wistfully looks back on moments in his life with rear mirror wisdom. Far removed from the spitting days of punk, but with its musical elements smartly smuggled into some of these songs, Moments of Madness is a masterpiece for our times and a very welcome recorded return from the man in black.

Words By Paul Davies

BAD LUCK FRIDAY

BAD LUCK FRIDAY

On September 2nd, Bad Luck Friday released their self-titled debut album. With ten tracks, this full-length release packs a sexy punch of soul-drenched songs and an emotionally tortured ballad.

Featuring the blazing blues harmonica licks of Will Wilde and wicked riffs from Steve “The Beak” Brook, this album leaves no confusion for listeners on the band’s blues rock style. The arrangements give way to explosive harmonica playing, with dirty and distorted guitar riffs. Add in the soulful and gritty vocals, this album gains depth and melody that is easy on their ears.

There is ample harmonizing of vocals to be enjoyed throughout “Jealous Woman” and “Banshee” while “Low Down Dirty”, “Dust & Bones”, and “Rebel With A Cause” provide the heavy soul and grit that add another level of power on this album.

Lyrically, the album plays through different themes. From the adult-oriented “Mistress”, tortured soul of “Dust & Bones”, the typically expected blues-laden lyrics on “Low Down Dirty”, and at times cheesy feeling lyrics heard in the title track “Bad Luck Friday” and “666 At The Crossroads”. Even without vocals, the instruments speak to listeners on an emotional level telling their own story.

The overall experience of this album is a display of blues done well. Bad Luck Friday has a good flow that brings cohesiveness to the listeners. The harmonica will catch some off guard in perfectly placed yet unexpected spots. At times fans will wonder if they are hearing a guitar or harmonica with how dirty the harmonica licks are on this album. “Dust & Bones” had one of the best guitar arrangements on the album. The short solo riffage was of note, while “Jealous Woman” featured my favourite mix of guitars and harmonica in a track.

Words by Diane Webb

TROY REDFERN

WINGS OF SALVATION

Picture the scene, Stoke Sugarmill, as Troy Redfern supports The Quireboys, November 2021. The quietly spoken guitarist steps from behind his merch desk to emerge onstage like a whip-thin Clint Eastwood. He gives the sold-out venue an icy glare and riffs straight into set opener ‘Scorpio’ from his album The Fire Cosmic. Fast forward to 2022, and that energy flows through his brand new studio album, Wings of Salvation. Very aptly titled, to say the least!

Redfern’s work rate is astonishing. This is his sixth studio album in two years, and it was written in just under five weeks! Due for release on September 23rd via Red 7 Records, it opens with verve as ‘Gasoline’ highlights his spotlightstealing slide guitar work. Troy’s vocals pull no punches either, delivered with a throaty rasp.

Other highlights (and there are many) include the Stones like hip shaker ‘Sweet Carolina’. The song’s hefty grooves rock hard and heavy, punctuated by fretboard-burning solos. ‘Come On’ - the first single taken from the album is true grit as a lung stripping vocal careers towards massive choruses and virtuoso solos.

‘Navajo’ is a triumph! A song to get totally lost into as it portrays the struggle of their 1864 Long Walk of that nation. Musically it captures the scene that unfolded way back then. A pause for breath comes from ‘Mercy’, a poignant song that ebbs and flows until it’s grabbed by the scruff of the neck by an outrageous guitar solo.

The heaviest song comes from ‘Profane’. A fist fight in the car park bruiser that pulls no punches due to the fast and furious country and western vibes. The slowest song is album closer, ‘Heart and Soul’, which lives up to its title for a heavy-hearted number that defies you not to shed a tear.

Words by Dennis Jarman

VLAD IN TEARS

PORPORA

The reformed Vlad in Tears, a gothic-metal fourpiece from Italy and Germany, have recently released their seventh studio album; Porpora. Based on their past few years’ experience during the Covid pandemic, Porpora examines weighty themes like loneliness, sorrow and death.

Described as gothic-metal, Vlad in Tears are closer to Cradle of Filth than Sisters of Mercy. Nonetheless, there is an undeniable melodic quality that underscores the brutal vocals of lead singer Kris Vlad.

Porpora opens with the powerful Wasted Lives, examining the lost time experienced during lockdown. This is immediately contrasted by the second track, Down, which offers a distinctly reflective and lyrical experience. The subsequent tracks follow a similar pattern, either being powerful fist-pumping metal or subtler introspective musings on recent experiences.

There are many bands that are described as gothic-metal, but most feel closer to one genre or the other. Vlad in Tears is one of the few bands that manages to straddle both genres without diluting the experience. That said, the more gothic-leaning tracks are definitely their strongest, as it is here that Kris’s vocals are at sublime.

Vlad in Tears work incredibly well together, as there is a distinct cohesion to their music. Rather than one being drowned by the other, the vocals enmesh perfectly with the music to create a layered sound. This brings together all four members of Vlad in Tears, creating something greater than the sum of their parts. Their cover of Kate Bush’s Running Up That Hill is particularly impressive, especially for anyone who has watched the latest season of Stranger Things.

Purists seeking only goth or metal may be disappointed at the confluence of genres, but those willing to be experimental and open to new sounds will find a lot to enjoy with Vlad in Tears’ Porpora.

Words by Peter Ray Allison

HORRIFIER

13

Wednesday 13 is certainly no stranger to horror. He first made his name fronting Frankenstein Drag Queens from Planet 13 and Murderdolls. His solo career doubled down on the horror influences, delving ever further into classic horror within his music.

Throughout his career, Wednesday 13 has explored a variety of musical genres, such as with the bouncy, punk-influenced Transylvania 90210 and Fang Bang, whilst remaining firmly focused on horror themes. Horrifier will be Wednesday 13’s ninth studio album, and this shows in its crisp production values. It is distinctly more immersed within the metal genre than his earlier work but retains the same horror-punk ideology of classic Wednesday 13.

The album opens with the instrumental Severed, which sets the tone for the album, with discordant guitars riffs and heavy drumming. This is immediately followed by the darkly heavy and sombre Insides Out. This is a new Wednesday 13 which, like the best of modern horror, is unafraid to go into dark spaces.

Horrifier is not completely dark and sombre (this is Wednesday 13, after all), as Exhume and Devour feels akin to classic Wednesday 13. You’re So Hideous also captures some of his original magic. Likewise, the title track is equally catchy and engaging.

Ultimately, Horrifier is a slightly different take for Wednesday 13, akin to his previous Skeletons, if not as personal. Somehow though, Horrifier feels like a missed opportunity. Return to Haddonfield – referencing the recent Halloween movies – could have been a perfect opportunity to echo his original Haddonfield from Fang Bang.

This is the same Wednesday 13, but without the gleefully catchy lyrics of his earlier work. Horrifier is an excellent metal album, but those expecting the same intensely fun horror-punk energy of his earlier work might be disappointed with the shift in emphasis towards a more doom-metal sound.

Words by Peter Ray Allison

CANDLEMASS

SWEET EVIL SUN

Swedish metallers Candlemass return with a new release - “Sweet Evil Sun”. A nine-track doom-laden affair, showing the world they still have more than a few ideas to get your ears around within this genre of music.

Founding member Leif Edling made an effort to take the band back to its roots on this new album with heavy riff guitars, killer drums, and vocal melodies to compliment the overall feel of the release. The record also features the return of their original vocalist Johan Langquist.

Kicking off the album is the riff-laden “Wizard of the Vortex”, which comes complete with an orchestral feel to the chorus, tempo changes and thunderous drums. This is followed by “Sweet Evil Sun,” - the title track for the album. The latter takes the listener back to the times of the band’s early repertoire. This could have easily come from the days of Epicus Doomicus Metallicus (1986) and Nightfall (1987).

“Angel Battle” follows with a classic Sabbathesque vibe, whereas “Black Butterfly” is complemented with some great doom guitars. With “When Death Sighs” comes a haunting mood change with a monologue feel to the melody, which fits well. Then we move on to what I would describe as a highlight track on the album, “Scandinavian Gods”. This must be played loud; no excuses. A great call-to-arms riff on bass and guitars accompanies the drums also.

“Devil Voodoo” is classic Candlemass. Then we move on to “Crucified” keeping up the tempo with its predecessor - heavy-laden guitars and doom vocal melodies to the core.

The album’s last song, “Goddess”, feels like it’s straight from the “Nightfall” era; a reminder of why Candlemass have sustained and earned their longevity through the decades. The album closes with a little outro - “A Cup of Coffin”.

Overall, it’s a great return to form. We look forward to catching this line-up performing their latest offering, which should be a real treat for all fans, old and new.

Words by Russell Peake

ERJA LYYTINEN WAITING FOR THE DAYLIGHT

Perhaps we can all relate to the title of the new album from Erja Lyytinen. Waiting For The Daylight feels pertinent coming out of a period of lockdown and restrictions brought about by a global pandemic. I guess we have all been waiting for the return of some semblance of normality during this time.

Although the album may sound like it’s about life during the lockdown, when you dig deeper into the release, you will find themes and subjects that were present in the artist’s last two releases Stolen Hearts and Another World, respectively. Lyytinen continues to write about personal subjects such as love and loss. Whilst the guitarist extraordinaire brings many burning topics to the forefront, such as bullying in Last Girl and sexual harassment by way of You Talk Dirty.

However, it’s not just the guitarist’s songwriting that is fiery but also her blistering fretwork. Channelling the rock greats of the 70s, Lyytinen and her very capable band continue to push beyond their traditional blues origins into a more rock-orientated sound to great effect. As fans of Lyytinen’s playing would want and expect, there are plenty of guitar solos along with lashings of incendiary slide guitar.

What’s more, with her latest offering Lyytinen has pushed herself further creatively and artistically. Much like her last full-length release, Another World, this album was once again selfproduced, showcasing a skill at which the artist has become incredibly competent.

There are many highlights on the album, including the lead single Bad Seed and the title track itself. Whilst the album’s closer End of Music, is a beautiful conclusion to a wonderful release.

Lyytinen’s latest album is perhaps her strongest studio album to date. It was most certainly worth the wait.

Words by Adam Kennedy

EVA UNDER FIRE

LOVE, DRUGS & MISERY

This debut album from Detroit-based Eva Under Fire comes out of the gates swinging with the high-energy track Blow, featuring Spencer Charnas of Ice Nine Kills. Riff-heavy with thunderous drums, this opening track has an insanely catchy chorus that immediately draws you in and keeps the energy up until the very end. Unstoppable has a driving rhythm that will undoubtedly instigate a sea of nodding heads at a live performance and showcases the range and talent of lead vocalist Amanda Lyberg.

It’s no secret that this particular reviewer is not a fan of U2, but, looking past that, this cover of With or Without You is soulful and melodic and breathes new life into the tune. Another Shot Through The Heart brings staccato rhythms and playful riffs before transitioning into the steady, anthemic beats of Misery.

The Strong hits all the right notes for a power ballad, with sumptuous harmonies, melodic riffs, string sections and a soaring chorus. Death of Me brings the tempo back up again with fiery guitar breaks and another chorus destined to have audiences singing along at live shows. Heroin(e) is a thoughtful tune, weaving between stripped-back vocals and keys and thunderously heavy hooks.

Ghost is another soulful tune that mixes melodic metal riffs, beats and harmonies. The final couple of songs on the album feature collaborations with From Ashes To New and Johnathan Dörr of Ego Kill Talent. Album closer, Give me a Reason, comprises piano sections, uplifting choruses and a counterpoint ending, which rounds out what is an incredibly selfassured debut album. One to look out for on their inevitable UK tour.

Overall, a must-listen for fans of Halestorm, In This Moment, New Year’s Day or similar.

Words by Simon ‘Spindles’ Potthast

FEAR FACTORY RECODED

Back when they were a death metal band, Fear Factory decided to break all conventions in 1993 and release an EP of remixes of their debut, ‘Soul Of A New Machine’. ‘Fear Is The Mindkiller’ was as groundbreaking as it was brave, marrying industrial beats with downtuned guitars and guttural vocals, but it kick-started a new movement. Soon all the big bands of the 90s were getting their music remixed by star DJs and underground talent.

Fear Factory then released ‘Remanufacture’ in 1997, remixes from their breakthrough ‘Demanufacture’ album, but have since been quiet on the remix front. Until ‘Recoded’, that is - 25 years after ‘Remanufacture’, they’ve decided to remix their latest album, ‘Aggression Continuum’. As before, Rhys Fulber provides the best mixes on offer incorporating his heavy cyber industrial trademark sound - ‘Hatred Will Prevail’ and ‘Path To Salvation’ being the best of the bunch on offer.

The main problem with ‘Recoded’ is that the source material was never going to be better than ‘Demanufacture’. Although this may allow the listener to enjoy the remixes on their own merit rather than make judgemental references to the original songs, one does get the feeling that this was a project that was neither asked for by fans and probably not singer Burton C Bell, whose Fear Factory swansong will now sadly be a remix album. There is some novelty value in the album and even a bit of fun to be had along the way, as is apparent in the Zardonic remixes, but essentially this is an album for Fear Factory completists in a style that was all the rage 25 years ago.

They’re far from obsolete, but you have to ask yourself if you enjoyed ‘Aggression Continuum’ enough to warrant buying remixed versions of the songs.

Words by Neil Not

JOE LYNN TURNER BELLY OF THE BEAST

Joe Lynn Turner has been on the scene for over 40 years, but he’s come back in 2022 with a new look and a new sound. I first became aware of the artist in the early 1980s when he joined Ritchie Blackmore’s Rainbow, and I’ve dipped in and out of his career since.

I, therefore, had certain expectations regarding this album. I was expecting a well-crafted AORmeets-soul, with catchy pop choruses. Colour me surprised, what I got was power metal with orchestral arrangements and a range of genres, all held together by Joe’s distinctive vocals. The album opener and title track, Belly of the Beast, is a real powerhouse metal track. This theme continues throughout the album. There are lots of screaming guitar solos and power riffs; in places it reminds me of Michael Schenker at his best. The band that Joe has put together for this project are more than competent. Joe’s voice is on top form throughout, but at the same time, his band play an absolute blinder.

The lyrics have a tendency towards the epic. There’s a lot of not sword and sorcery going on, but storming of castles and waving of swords is a possibility! But in a total turnabout, there’s also Fallen World, which is a kind of Eco song. My favourite track from the album is Desire, a slow and sleazy slice of life on the streets. In contrast, Dark Night of the Soul has big vocals, big power and gives me goosebumps. The album closer is another slow burner that showcases the range that Joe still has in his vocals. Overall, it’s not what I expected, but it’s pretty good, and I’m happy to add it to my collection.

Words by Jo Crosby

LACUNA COIL COMALIES

XX

Twenty years ago, Lacuna coil first released Comalies to critical acclaim. It was one of the great post-millennium Rock/Metal albums to be released. I have most of their releases, but I wouldn’t say I’m a super fan, so a little excited and apprehensive to hear this new take on the Comalies release.

Yes, the songs are the same but re-recorded with a new edge, a new take on those epic tunes. The track listing is the same as the original; straight in with the classics “Swamped” and “Heaven’s a Lie”. There are subtle changes in all the re-recordings, different sound effects, and emphasis on each instrument. Richard Meiz’s drums are bang on with every note. There’s more emphasis on bass tones and atmospherics with keyboards from Marco Zelati on this production.

Every song has its moments - the haunting vocals on “Daylight Dancer”, the melodic mood swings of “Humane”, and the stomper “Self Deception” really gets the beat going with the added orchestral overtones. “Tight Rope” is a song that reminded me how much I love the original album, with big-sounding thunderous drums, heavy guitars, bass, and great vocals from Cristina Scabbia and Andrea Ferro. Wellcrafted tunes with no cliches.

Again, the vocal melodies on “The Ghost Woman and the Hunter”, “Unspoken”, “Angels Punishment”, and the closing track “Comalies” all highlight what great musicians this band are, as does show when they perform live also.

A well-produced new take on this infamous release, and most lovers of Rock/Metal should have the original in their collection. This release/version sounds a little more commercial production-wise and a great addition for the die-hard fans.

Words by Russell Peake

THE OUTLAW ORCHESTRA

BACK UNDER THE COVERS

Back Under The Covers is The Outlaw Orchestra’s new 5-track EP featuring cover versions performed in their own inimitable style of some of those songs that you’d forgotten you knew. As the band are a kind of country-rock, early-ZZ-Top-inspired outfit with added banjos, the results are somewhat interesting!

They start with Come Together. This was originally performed by The Beatles. They countrify it up, add some banjos and rock it out in their own special way. Small Faces Itchy Coo Park follows, and I’m beginning to see a theme here. They mess around with it a bit; it’s quite good fun.

They then move on to Joe Walsh’s Rocky Mountain Way, which is one of my favourite songs in the world ever, and to be fair, they do it a reasonable amount of justice. I think “rollicking” might be a good way to describe it, and again the banjos are high in the mix. Up On Cripple Creek by The Band is a song I’m not familiar with, but the lyrics involve a lot of Mississippi references, so it’s appropriate for them.

The final track is Motorhead’s Iron Fist which once again feature’s the group’s country rock stylings. It’s okay if you like that kind of thing, but I found my interest waning by this time as it was all a bit samey.

The Outlaw Orchestra are a good band with a unique style, and I bet they’re a scream live, but by the end of the EP, I was looking for, and not finding, something a bit different.

Words by Jo Crosby

TYLER BRYANT & THE SHINEDOWN SHAKE THE ROOTS

With their brand-new album Shake The Roots, Tyler Bryant And The Shakedown have not just shaken them, they have also overhauled them by leaving their old record label and going independent by creating Rattle Shake Records to have full control over their music. It’s a brave move for sure, and their newfound freedom lights up these twelve tracks on their fifth studio album.

Since forming his first band at just 15 years old, Tyler has come a long way since moving to Nashville, Tennessee, to pursue his musical calling, forming the band in 2011 and releasing their first EP My Radio. A steely-eyed determination to succeed has resulted in sharing stages with AC/DC, Guns and Roses, Aerosmith, and Jeff Beck, to name but a few.

It’s all killer, no filler and here are some of the highlights. ‘Bare Bones’ is a short but sweet slide guitar-dominated barroom boogie bluster to kick off the album. This is followed by the first single taken from it, ‘Ain’t None Watered Down’. That includes some hell-raising lyrics of “Give me a jar of that Lightning Strike, I like my love like a barroom fight, ain’t none watered down. Got the tail of a tiger, you can’t change the stripes, double the trouble at just half the price!”

A Black Sabbath vibe shakes the foundations as ‘Ghostrider’ has riffs to scare the living daylights out of you. ‘Roots’ has a heart worn on the sleeve lyrics that include “Learned to swim in muddy waters, learned to walk on rolling stones.” It’s a beautiful song that ambles along without a care in the delightful choruses until it muscles up for a feisty outro. ‘Off The Rails’ is AC/DC with a country touch as it headbangs like Angus Young and the unrelenting riffs take no prisoners. ‘Sell Yourself’ is another heavy rocker, point proven by the seismic riffing and gnarly lead vocals. The album closes on ‘Midnight Oil’, where all country-tinged influences rise up to get you on the dance floor and air guitar for the outro guitar solo.

Words by Dennis Jarman

THERE’S ONLY BLACK VENOM INC.

Let’s get this straight right now. I don’t care who the real Venom is as long as the Cronos fronted Venom and Venom Inc. (featuring original Venom guitarist Jeff ‘Mantas’ Dunn) are both delivering good music. A point proven by There’s Only Black - the sophomore studio album from Venom Inc., recently released via Nuclear Blast Records. These twelve tracks are a dirty dozen of ferocious tunes.

Choice cuts start with ‘How Many Can Die’ - a turbulent opener that burns up the tarmac on a punishing pummel that has certified pit opener written all over it, hammered home by a midway-over-the-top guitar solo.

‘Infinitum’ grabs you first by cataclysmic kick drumming from Jeramie ‘Warmachine’ Kling, buzzsaw riffing and a lung-busting barked vocal and bass bombast from Tony ‘The Demolition Man’ Dolan. It surges along unrelentingly on gritty thrash metal of the highest order.

Rib rattling riffs rage hard and heavy throughout ‘Come To Me’ that lay down a muscly maul around an unearthly vocal growl that’s topped off by a kick drum-driven, shimmering midway guitar passage. ‘There’s Only Black’, which was the first single released, is a mid-paced thrash attack of body blow grooves that are a force of nature and words of warning lyrics are mandatory!

Demonic vibes rise up from ‘Tyrant’ for a skull-crushing dose of heavy metal. Choruses are short but deliver their powerful message, ending the song symphonically. ‘Don’t Feed Me Your Lies’ is a vitriolic rant over an ominous grind until it explodes with wrecking ball power.

This impressive album ends with ‘Inferno’ - a fireball of vocals of a manic glee for a truly disturbing number of leaden grooves that drag it into a musical quagmire until it slowly emerges for a languid guitar solo.

Words by Dennis Jarman

MONSTER TRUCK WARRIORS

If you’ve experienced the music of Monster Truck before, you will know that their sound is effortlessly bursting with classic rock influences. These Canadian rockers are not shy of volume with their love for loud, distorted guitar and bass drives, a theme notable from their previous releases, with Warriors leaving no disappointment. This is their fourth full-length album that is just as bold as their previous work and is full of riff-driven, pure rock ‘n’ roll tunes!

Opening with the title track Warriors this sets a punchy tone for the rest of the album. The chorus holds a chant of ‘oh we are the warriors’ that you can envision in a live environment as a total crowd pleaser. Fuzz Mountain follows with a more blues inspired sound whilst Country Livin’ gives us the summer road trip vibe with a salute to their mission statement of having a good time, being respectful and remembering that life is a party! A statement that can certainly be picked up throughout this album leaving listeners in an excited, happy mindset after each listen.

Monster Truck’s vocals have always been a magnetic pull for me, whether they are shared harmonic phrases or Jon Harvey doing his solo magic; for me, this has always been a key characteristic to distinguish their hard-hitting sound and this release highlights exactly that.

A fierce effort from these lads and an album I’m certainly going to have on repeat!

Warriors is available now on black vinyl, CD, digital download and as a part of a variety of merch bundles.

Words by Charlotte Hooper

DAVID LONGDON DOOR ONE

As the consummately talented frontman of the progressive renaissance band Big Big Train, whose melange of folk tales, ancient and archaeological themes translated via the prism of progressive, folk and brass band music stretched far beyond expectations, David Longdon was a much-loved artist and man. Very few artists and bands endear themselves to a growing fan base - passengers, in this case - than this evolving group and their tragically taken too young main man David Longdon. Door One reinforces this view and posthumously enhances David’s reputation. A reputation that is eternally golden with his portrait exquisitely captured by his partner Sarah Ewing’s cover illustration.

Turning up the volume knob and carefully opening the door to this recording, the listener is instantly plunged into the ambient world of Into The Icehouse. It’s a freeze-frame instrumental moment in recorded time contrasting with the jaunty riff of Watch It Burn a song, like a few on this record, about messy and perilous relationships that No Ghost Like An Old Ghost eloquently documents with its upbeat poppy tones. Forgive But Not Forget broods further upon this theme possessing the spirit of mid-70s Genesis. Sangfroid’s manipulation of sound and verse is almost overwhelming. Arguably the showpiece musical event, though, is The Singer And The Song inspired by this performer’s concert preparations that Longdon sets out with emotional acuity.

Love Is All rightly has the last word as each musical stitch in this extra fine tapestry of sound is carefully considered and executed. The subtle and the complex join harmoniously on this sonic journey that was 90% recorded and completed by a core of musicians close to the artist, at the time of David’s passing in November 2021. Like footprints left in the recorded sands of time, Longdon’s stride grows longer on this final bow.

Words by Paul Davies

NICKELBACK

GET ROLLIN’

Everyone’s favourite marmite band Nickelback are back, and I can’t deny that I wasn’t massively excited about this announcement. I’ve followed the band since “How You Remind Me” poured from my dad’s car speakers over the radio, with albums “Silverside Up” and “Dark Horse” making my top 10 albums of all time list. Needless to say, I couldn’t wait to get my ears plugged into this new album, but it certainly wasn’t what I was expecting.

Their first single, “San Quentin”, had everyone in a spin, some calling it metalcore, which for me, is a step too far. They are heavy rock, even heavy metal regarding their crunching guitars but metalcore, not so much especially judging by the rest of the album. It is a crowdpleaser for the stadium shows and for some reason, it truly sticks in your head. From the opening slaps to the solo and thundering drums - it keeps you captivated.

The following track, “Skinny Little Missy”, is just as dirty, and I love it. As always, talking about their favourite kind of independent but dirty girl, and this song will have the ladies grooving. It gave me a sense of “Hell Yeah” with the lines “She don’t want no boyfriend” and “Don’t Waste No Time” because we certainly don’t. The solo is pretty slick in its delivery and goes into the half-time muffled vocals before tearing it home. “Those Days” follows with its nostalgic feeling, and I quite like it. I have always loved Nickelback’s ability to change the tempo this way. Acceptable for everyone from the bird song lovers to the naughty bedroom shakers. It’s very catchy in its delivery, and I’m sure a staple to be played at Open Mic Acoustic nights for sure.

Hitting off that nostalgia road and just down the country lane, you get a funky play from “High Time”, which has the album title thrown in there. I like it, but it’s not a Nickelback track, not even by their ballad or catchy staples like “This Afternoon”. I’m not sure where they were going with this, but it’s easy to listen to.

“Vegas Bomb” in the opening chords gives you whiplash from the easygoing pace to a rocky road. This song is going to be a huge crowd pleaser keeping the party going all night long. “Vegas Bomb” will keep the hardcore fans going with its catchy choruses and guitar solo. The rest of the album is filled with great feel-good tracks, giving you a chance to take in the skill of how Nickelback can certainly deliver, whether they are taking you to a party or a drive down memory lane.

As always, I cannot fault the production and mastering of this album. Since “Silverside Up”, the albums have had a constant high standard of delivery and appeals, in my opinion, to everyone. I love hearing every note clearly, whether that is from Chad’s pipes, Ryan’s driving rhythms, Mike’s bottom lines or Daniel’s pounding on the drums. “Get Rollin” sums up Nickelback in eleven brilliantly written and orchestrated tracks, driving you down the lanes of nostalgia while taking detours to party city.

Words by Charlotte Simpkin

NIGHTBLADE

HOPE TO BE THERE

When it comes to work ethics, few can say they have been as prolific as Kidderminsterbased rockers Nightblade in recent times. The group recently released their impressive third album in three years. Thus, completing what the band has deemed as their trilogy.

The opening track of the album, which is titled Erratic, leaves the listener under no illusion. Just like the title dictates, this track is fast and furious. It’s a big number to open the album with, complete with crunchy guitar riffs and an infectious melody. Immediately from the off, you feel your toes tapping and your head bobbing.

The title track itself, Hope To Be There, is a poignant and thought-provoking melodic rock number with a huge chorus. Whereas the following number, If Only You Could Know, is packed full of power chords, set against a pulverising rhythm, and delivered with passion and intensity.

After the prolific first four songs, Something Inside slows things down momentarily. The song builds as it progresses throughout its 7 minutes and 37 second duration. It’s a bit of an epic, to say the least. Nightblade provides their version of a love song courtesy of No One Is To Blame. But as fans of the band would expect, this is not a soppy ballad in any way, shape or form.

The infectious twin-part guitar harmonies are particularly effective during the opening of the up-tempo rocker Head In The Clouds. The band walk down a dark and brooding path during Right By Your Side. Whilst the Wah-infused guitar opening during All Is Said And Done heightens the sinister sounds of the track.

With its pummelling bass line, fiery guitar licks and heavy rhythm, Push It To The Limit does exactly what it says on the tin. The band push their sound into the extremities of hard rock. Whilst the final track on the release, which is titled That Feeling, brings a slow conclusion to the release, as the album fades to black.

With their latest release Nightblade delivers a sound that is reminiscent of the past, with a foot firmly in the future. Next time the band hits the road, we certainly Hope To Be There.

Words by Adam Kennedy

FORGOTTEN SONS

FORGOTTEN SONS EP

Perhaps the Shetland Islands may be a far cry from rock meccas like London, Los Angeles, or New York. However, it doesn’t mean that these areas lack the talent than can be found in those famous cities. Forgotten Sons are a perfect example of this.

The band recently witnessed a change to their line-up, but they are now regrouped with new material and stronger than ever. Forgotten Sons’ eponymous EP is a testament to this.

There may only be four tracks on the EP, but don’t let that put you off. This release has so much to offer. The EP ebbs and flows throughout its duration, keeping the listener locked in from the off.

The opening track - Flip Side, is a dose of punk-tinged alternative rock. The band’s energy flows throughout the song with their short and sharp riffs, big hooks, catchy choruses, and plentiful power chords. The band switch things up momentarily with I’m Fine. The song is a lot slower than the opener. It’s an atmospheric ballad complete with heartfelt lyricism.

The song Socials is a burst of nostalgia. It has a very ninety’s grunge rock sound. The track is full of fuzzy riffs, which are turbocharged by the band’s tight delivery. Mid-song, the band winds up into a punk rock explosion. The track is a real earworm on the album.

Forgotten Sons wrap up the EP with perhaps the strongest song on the release - Wasteland Mindset. The song is delivered with conviction and provides a fiery conclusion to the group’s four-track release.

Although the band and their EP may be called Forgotten Sons, with their latest release, the band will leave a permanent mark in your memory in the best possible way. All that’s left to be said is that the group’s latest offering is simply unforgettable

Words by Adam Kennedy

DIAMOND HEAD

LIGHNING TO THE NATIONS (THE WHITE ALBUM)

Where does the time go? It was 1980 when Diamond Head released their debut album and unleashed their heavy metal sound. Forty years later, we have this ultimate version release with not only the ¼ master tapes restored. We also have five of the original mixes included and seven bonus tracks to complete the definitive version. A pinch point historically speaking for heavy music.

This album changed the lives of so many people, at least for the definitive NWOBHM movement in the early 80s. Of course, a lot of music lovers didn’t cotton on to the riffage of Tatler and crew until a band called Metallica covered a few of their tunes. But make no mistake, listening back on this album, you can instinctively hear the well-crafted songwriting of Tatler and Harris and appreciate what their contribution to the heavy metal genre really is.

The title track, “Lightning to the Nations”, “The Prince” and “Sucking My Love” all highlight the musicianship of the band. Great riffs, drums, vocals, and melodies all shine through. Track #4 begins my first introduction to the band with the unforgettable “Am I Evil?” There aren’t that many cooler riffs than this little number. “Sweet and Innocent” and “Its Electric” are just classics to hear now. The original album ends with “Helpless”, which multiple artists have covered over time.

It’s an album which should belong to all rock fans as a historical timepiece. British Rock - loud and proud. Of course, you also get the “Original Mix” versions so you can immerse yourself in a time warp back to those days. I enjoyed the bonus tracks; the songs are well-crafted with great riffs and have more commercial feel to them. I enjoyed them all, especially “Streets of Gold”, “Play It Loud”, “Diamond Lights”, and “We Won’t Be Back”, to name a few. A must-have in your collection.

Words by Russell Peake

THE RASMUS RISE

When you hear the name The Rasmus your mind throws you way back to the 2003 emo anthem In The Shadows - so to hear they have unleashed new material is naturally intriguing. Following an impressive Eurovision performance earlier this year, the Finnish rockers have released their tenth studio album Rise, an album complied during the COVID pandemic.

The fusion of pop-hooks and melodic structures creates a trademark sound from The Rasmus. The opening number Live and Never Die is a total earworm that instantly picks at your curiosity whilst tracks like Odyssey create a rollercoaster of sounds with a powerful beat and mystical vocal scale that echoes into silence as the song closes. Each track does also have its own story to tell that are based around relatable topics on a number of levels! For example, two dark and moody tracks Fireflies and Be Somebody, both focus on the idea of someone isolating themselves from any light or human interaction but craving recognition or affection. Putting the spotlight on their Eurovision single Jezebel, this single highlights the sophistication and growth from the band’s sound and explores the concept of a strong, independent and rebellious female character!

Overall, the catchy melodies from track-totrack keeps the listener engaged throughout alongside the classic emo-rock vibe which makes this a fun and easy listen. I must say that they sound better than they ever have before; I’m excited to see what the next chapter holds for these guys!

For any vinyl lovers, like myself, this album is available on LP and a special limited and numbered box set (Limited to 1000 copies) with LP, CD, logo pin, signed card and 48 page 12“ sized booklet including photos, lyrics and liner notes – also available in digital format and CD.

Words by Charlotte Hooper

REBECCA DOWNES

THE SPACE BETWEEN US

Award-winning British blues singer/songwriter and guitarist Rebecca Downes returns with her new album, The Space Between Us. Following the release of the artist’s lockdowninspired acoustic album Stripped Back the Midlands-based chanteuse is back with her full band and a fully electrified affair.

The opening of the album, Beccs Blues, sets the tone for the release. It’s a traditional Delta Blues number in the vein of early Robert Johnson and comes complete with a vinylsounding aesthetic. The track is short and sweet but gives a listener a taste of what is to come.

Of course, Rebecca Downes treads a fine line between blues and rock. Each of which she does very well. The first single from the album, Hold On, fits into the latter category. It features all the hallmarks of a track from Rebecca. The artist’s passionate delivery and exceptional range resonate throughout the song. It’s a very catchy song and the perfect first single to be released for the album.

Rebecca turns up the heat with the thunderous rocker - This Is How It Feels. Whilst the artist’s ethereal vocals enchant the listener as the song Terrorise ebbs and flows. Downes and her band switch gear with the title track of the release. The Space Between Us has an almost Stones-like classic rock swagger about it. The song also features some wonderful fretwork from guitarist Steve Birkett.

Rebecca Downes has an aptitude for writing atmospheric blues-rock numbers. A perfect example would be Night Train from her earlier release. However, on this album Lights Go Out is much in the same kind of vein. It’s a style of song which Rebecca does so well.

As the album progresses Head Over Heart, is a blues-tinged classic rock number with maybe a hint of Free, Whitesnake, or Bad Company influence. The song is the perfect precursor to the only cover on the album which is Rebecca’s tremendous take on Free’s A Little Bit of Love.

In the final stages of the release, Not On My Knees is a sombre and somewhat atmospheric heavy blues number with resonating church bells utilised to great effect. The album concludes with the foot-stomping blues rock number Rattle My Cage.

Much like her last album Stripped Back, with The Space Between Us, Rebecca Downes has once again outdone herself.

Words by Adam Kennedy

PRINCE BISHOP

ALL IS DUE

Prince Bishop may sound like a move from a chess game, but for those from the NorthEast of England, perhaps the band name will hold more significance. Founded in County Durham, the rock trio will release their debut album, All Is Due, on the 25th of November.

Recorded during the lockdown, All Is Due transcends genre with Prince Bishop employing a multitude of musical stylings throughout the release. Not afraid to push the boundaries of genre Prince Bishop showcases a variety of influences throughout the ten tracks on their new release.

The album opens with the somewhat ethereal sounds of The Ghost Of Good Will. The song is an atmospheric number, complete with orchestral elements and a big sound to boot. In places, it feels as though the song was recorded in a grand setting, such as Durham cathedral.

The band switches gears with Come Alive. The latter features wonderful vocals from frontman Ben Trenerry. You can also hear some of the band’s 90s influences shine through on this track.

All Is Due features several tracks that have undertones of the late great Jeff Buckley. These can particularly be heard during Soul of a Man along with Way of Things. The latter features some poetic lyricism from Trenerry. Furthermore, the keyboard breakdown adds a nice texture to the proceedings.

With each track on the album, Prince Bishop takes the listener on a musical journey. The progressive rock stylings of the band shine through during Truth Lies In Between. The song ebbs and flows, with moments resembling classic Pink Floyd output.

The band turns things up a notch with Roman Roads, which is one of the livelier tracks on the album. Before the beautifully intricate title track brings the ten-track album to its close.

It’s quite challenging to pigeonhole All Is Due into one box. The album is eclectic, to say the least. It’s the kind of album you are meant to savour from start to finish. Not just skip in and out of songs, as tends to happen these days. With All Is Due, Prince Bishop have delivered a majestic debut offering. We’ve got to give the band credit where it is due.

Words by Adam Kennedy

HUGH CORNWELL MOMENTS OF MADNESS

Former Stranglers frontman Hugh Cornwell recently un veiled his highly anticipated tenth solo album. With his new release Moments of Madness, the poet laureate of the punk era showcases perhaps one of the most significant albums of his career.

With time on his hands in re cent years, the artist began to reflect on the unusual period in which we find ourselves. “There was a lot of time for contempla tion and thinking about things. So, a few of the songs are very contemplative. Obviously, there are a couple including the title track which deal directly with the experience of being in that situation. The word lockdown isn’t mentioned, of course, but I mean, there’s one called Coming Out of The Wilderness, which speaks for itself.” said Hugh.

During the last few years, the artist began to reflect on his life. “I started thinking about lots of things I hadn’t thought about for a long time, like my relationship with my moth er and father for one thing. There was a song called When I Was A Young Man,” proclaims Cornwell. “There’s a song all about tattoos. Where do they come from? And what are they about? And my past and all sorts of things.”

Perhaps one of the most inter esting titles on the release is Lasagna. A song that is music to your ears, as well as food for your soul. “There are a couple of people that live in Mexico, and they’re Italians. They make the best lasagna I’ve ever tast ed in my life anywhere in the world,” declares Cornwell. “I’ve taken lots of people I know to

try it, and they agree with me.” He adds: “I was eating it one day with the people that make it, and they run a gelateria in Mexico. And I said, there could be a song about this - it’s just too good. I’m going to celebrate it in a song, and they laughedthey thought I was joking. Then I sent them a link to listen to it, and they absolutely freaked out.”

Overall, the artist is happy with the fruits of his labour. “I’m quite pleased with how it turned out. I’m pleased with the sound of it. I think that’s what I like - it’s very straightforward. There’s nothing superfluous on it, let me put it that way. It’s very stripped down, and there’s a lot of space in it.”

During his tenure with The Stranglers, Hugh Cornwell recorded many songs and an thems. The artist vividly recalls working on the classic No More Heroes. “We were playing in America. We used to do these lightning tours of America where we would shoot across and do less than half a dozen dates, and then shoot back to England,” he said. “We were in New York, and within a few days, Elvis Presley and Grou cho Marx passed away in the same week. So that’ll tie it down when it was, and I was abso lutely knocked for six. You’ve got to remember that these two people had been in my life from the word go. They were pillars of my cultural experience of the world, and I loved them both. They both were knocked out within a few days, and it shook me. It was cataclysmic for me, and so that lyric, no more heroes was stimulated by their passing.”

Of course, songs like Peaches, No More Heroes and Golden Brown have all stood the test of time. The artist suggests that the secret to writing timeless music is to “keep it simple”. Hugh said: “As far as I’m con cerned, as far as songwriting goes, the simpler, the better. If you can make something simple and memorable, then you’ve cracked it, and that’s what we were trying to do in those songs that I was writing in The Stranglers.”

Amongst other things, Hugh Cornwell will round out the year and beyond by taking his new album on the road. “We’re going to take the album abroad - around Europe after the new year. I’m going to do a bit more writing of a new nov el I’m working on,” said Hugh. He concludes with an insight into his love of film. “There are various projects, and my pod cast continues Mr DemilleFM. If anyone’s interested in cinema, as I am fascinated by it. Every month we put up a show about something to do with the mov ie business and cinema. Either an interview with someone or someone’s career, or a theme like different types of films, and then play a bit of music from each of them. That’s always an ongoing thing and it’s totally free to tune in. So that’s anoth er thing that I am constantly doing.”

Moments of Madness by Hugh Cornwell is out now. The former Stranglers frontman will tour the UK during November/De cember. For ticket details and further information, please visit http://www.hughcornwell.com.

Words: Adam Kennedy

Photo Credit: Robert Betkowski

Sometimes in life, you’ve got to take a few steps back to move forwards. At least that rings true for Scandinavian rockers H.E.A.T. Following the departure of the band’s former lead singer Erik Gronwall due to health issues, the Swedish natives thought there was only one man for the job. That be ing the group’s original lead singer Kenny Leckremo.

H.E.A.T continued their friendship long after the singer departed from the group in 2010.

Since those early days, Kenny has watched on with bated breath, waiting for his opportunity to return to the fold. Thankfully for him and the band’s loyal fan base, his time is now. What’s more, the group released their new album Force Majure in August. The re lease has been well received by the H.E.A.T fraternity and the industry alike.

Perhaps the title of the band’s lat est offering feels pertinent in the strange times we’ve encountered during recent years. Although the pandemic wasn’t the only factor influencing the album name. The change in band personnel was also on the band’s mind at the time. “With everything else going on in the band already, with the shift in singers, and me coming back, which I wouldn’t say was a challenge necessarily, but it was different circumstances put it that

way. Also, everything about the re cording, the music, the songs. The guys kept referring to me coming back into the group as a force,” explains Kenny Leckremo. “We took all these pieces of the puzzle and put them together, and it’s got to be Force majeure. I mean, this is it. This is the name.”

The band’s new album isn’t neces sarily a hangover from the band’s previous line-up. H.E.A.T essential ly started from scratch with their latest material. “The stuff that you hear on Force Majeure was basi cally written for the album sur rounding the time I came back. We just started writing music, putting together a bunch of demos,” said Leckremo.

Kenny’s departure from the band in 2010 was a decision the artist has been reflecting upon for some time. “After I quit the band, it took me a couple of years to go through all the emotions that you do. And I definitely started to be able to see things more clearly,” said Kenny. “I think that there was a huge part of me that missed the guys, missed the band, and missed the music. But at the same time, I was really happy about what they were doing with Erik. I definitely realised my mistakes, as it were.”

With the vocalist’s first tenure in H.E.A.T in his rear-view mirror, the artist pursued opportunities overseas. “I was living in England

at the time, and I was just getting on with life doing everyday stuff,” said Kenny. “I was slowly but sure ly coming back to the point where you just want to put everything into music again - releasing the solo album that I did and then eventually being asked to re-join the band.” Of course, Kenny didn’t have to be asked twice when he was approached to reunite with his former bandmates. “That wasn’t something I had to think about,” he said. “Let’s go for it. What are we waiting for?”

Although it had been approxi mately twelve years since the lead singer had left H.E.A.T, the front man had remained in contact with his musical counterparts. “I would say that all in all, we’ve stayed in touch in some ways, whether it be by phone or whatever else,” said Leckremo. “We always have had this connection together, because when we started working on this band, or with some of the guys even further back, it was the time when you’re young, and you’re discovering all kinds of music and what you want to do and who you are in a way, musically. So that creates this musical bond - almost like a brotherhood in a way. It’s difficult to get away from.”

Force Majeure, the new album from Swedish rockers H.E.A.T, is out now via earMUSIC.

Words: Adam Kennedy Photo Credit: Chris Wilson

DARK CIRCLE

”TheShotQueen!”

Celina Waters

Interview Conducted By: Viki Ridley

Introduce yourself and tell us where you hail from?

I’m Celina and I’m from Manchester but moved to Nottingham during lockdown for a change of scenery.

Tell the HRH MAG readers about yourself Celina?

I was born on an RAF camp in Shropshire and travelled with my parents to Germany, Holland and Switzerland until my Dad left the air force when I was five – then I stayed in this country. I loved seeing new places and was taken on many holidays abroad as a child, which is why I got bored and got a job in Miami at 18. Both my parents have passed away, Mum was 49, Dad was 73, but I was very close to them both. I love to go to festivals and gigs and enjoy a shot or two!

I know you have lived in the United States, you worked there as an Au Pair, is that right?

Yes, I moved to Miami at 18 and got a job as an Au pair. I ended up living there for 6 years in total and was amazing

America loves their rock and metal. Which artists did you get to see while you were living there?

I saw Skid Row and Bon Jovi in 88. I saw Motley Crue, U2, Rob Zombie, Joan Jett, Poison, AC/DC, Aerosmith, Cinderella - too many to name really. I met Bob Dylan one day and Seb Bach.

When did your love of music begin?

When I was about 13 or 14, I started listening to Motorhead, AC/ DC, Queen, and Status Quo. I loved bands like Wham and Duran Duran. I had posters on my wall of Wolfsbane, Billy Idol, and Whitesnake to name but a few!

What is your favourite genre of rock/metal and why?

I love AOR but also love my metal too! Metallica, Megadeth, Slayer, Motorhead, Kiss, Rob Zombie, and so many to name but I just love music, songs that make me feel good and get me in a great mood!

When was your first Hard Rock Hell Festival and what was it that made you attend?

First HRH was the one after Minehead, it’s the only one I missed and me and my boyfriend at the time went together. It was at Prestatyn and I’m sure that was the year I met Zakk Wylde!

What is your favourite/craziest/silliest HRH memory to date? I’d have to say when I was dancing to Queen on a table at an after-party and fell off. It was the funniest or silliest time, but I always have crazy times there, that’s why I keep coming back!

To date, who has been your favourite artist to appear at HRH? Or your favourite event lineup?

That’s a really hard question because most HRHs I’m planning on when to eat or do some shots back at the caravan because they’re all excellent lineups. I love the mix of new and established bands!

What are you all looking forward to most in the upcoming HRH Calendar of events?

I’ve booked for this November HRH15 and always enjoy the redcarpet shenanigans at the HRH Awards Ceremony. It’s always great at the beginning, but then I hardly remember the end but know it’s a great night with the photos I take!

Tell the readers what it is about HRH that makes you want to keep coming back?

I keep going to HRH Events because it’s where all my friends get together, it’s where all the bands are under one roof. You get to have photos with your favourite artists and drink with them and also, I love the crew, they work so hard, and I’ve become really good friends with some of them.

What does being part of the DC mean to each of you?

To me, one of the great things is that we have a chance to suggest bands that we like and suggest they play there. It’s a get-together to make new friends and discuss anything we think we may want to improve or change about the festivals and events

Thanks Celina! See you on the red carpet