Heatwave Magazine - Issue #3 - Summer/Autumn

Issue 3 - Summer - Autumn - 2016

Heatwavemag.com

Issue 3 - Summer 2016 Welcome to the third Issue of Heatwave Magazine!

We would like to thank all of you for the massive support we have had so far this year - to all of you who have sponsored us, invited us over to gigs and festivals, and to our audience without whom all the work of our team would go unnoticed!

We are now also based in Amsterdam, which means we can further explore the local music scene in Europe, and it will be easier for us to reach out to local bands.

We have met really cool people these past few months. In this issue, we have some special articles exploring the music scenes of Amsterdam and Japan. We introduce you to some of the greatest new and most underrated bands in the London scene, and catch up with bigger fishes, such as Fat White Family and Night Beats.

We have new illustrators and great artists who help us brighten the issue, and of course, our writers who have worked throughout the summer, sweating their arses off.

We would like to encourage you, as always, to write us an email with any input to heatwavemag@gmail.com. Tell us about your favourite bands or simply give us some feedback. We are also constantly looking for collaborators, so get in touch!

We hope you enjoy this issue and don´t forget to check our website, Facebook and Twitter for more news, features, and of course, parties! - the Editorial Team

Contents New Beats From The Street

-Big Tits

-Fews

-The Cavemen

-Lucy and the Rats

-Retrofuture Apache The Night Beats: Rock ‘n’ Roll With Something To Say Black Mambas

4 6 7 8 9 12 15

Yak Fat White Family Savage Communication Art Japan Rising : A Retrospective of the Greatest Music Scene on Earth Slovenly’s Top Records Bad Sports Sheer Mag : Trio of Aces Popcorn Chokers Amsterdam Scene

16 18 22 23 27 30 32 34 36

Editorial Department Founder/Managing Director—Neus Ruiz Editor—Linsey McFadden Creative Director—Adrian Alfonso Assistant Editor - Frieda Strachan Assistant Editor - Amanda Ashley Contributors Laurie Jane Nick Kuzmack (Nix Beat) Emily Slupecka Marko Petrovic Frieda Strachan Penelope York Illustrators Lluis Fuzzhound Georgios Katapodis Ika Lesniak Christopher Lopez-Huici Francisco Salvado Andrew Tseng Lid Von V Special thanks to Martin Clarke and Marco Palumbo-Rodriguez of Savage Communication for contributing their art to our magazine!

Cover Design “Apache V Black Mambas” Ika Lesniak Layout Design Adrian Alfonso Printed by Mortons

3

New Beats from the Street

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Big Tits

hen I first listened to the song ‘I Like It A Lot’ by Big Tits on YouTube, I made the mistake of trying to find out more about the band by searching online. After quickly realising the challenge of looking for Big Tits through the Google search bar, I found other ways to learn more about these Oakland-based rockers, and their special blend of 1970s inspired, lo-fi, glam tinged with fuzzy garage pop.

Laurie Jane

The band’s fearless leader, Joey Genovese, attempted to start the band in New York, LA and even Nashville before hooking up with the right people, and future band members, at SXSW in 2012. He not only ended up with moving to LA, but also received the sage advice to go to Oakland to record. Working with one of those SXSW contacts, Matthew Melton, he put out the 7-inch Ex Repeater on Fuzz City Records in 2013 Since then, there have been different band members representing the Big Tits, including support from Jason Testasecca of Nobunny and Elvis Christ, and Pookie of Pookie & The Poodlez. The current Big Tits lineup features members from Joey’s other bands, Apache and Slick! (Nick, Matt and Carlos), as well as Sean Starling from Cumstain on guitar.

©Steven Ruud The band has just released a full-length record, Bustin’ Out, a co-release on Southpaw Records and King Rocker Records.

The new album is a perfect introduction to Big Tits, from the anthemic fist-pumping ‘When It Feels So Right’ to the sassy and harmonising ‘Doormat’ and Big Tits’ signature

sugar-coated classic ‘I Like it A Lot.’ Every song feels like staying up late drinking and smoking on a school night.

The Big Tits are kicking off a two-month European tour this month, along with Slick! and Apache, so definitely don’t miss out on your chance to see them this summer.

FEWS

Emily Slupecka Fews are a four-piece band based in Sweden, consisting of an American, a Brit and two Swedes who all met via MySpace. The sound of the band is rough and influenced by psych-post punk.

Their crushing solos will leave you shaking. The band constantly plays shows in the UK, and have already toured with Bloc Party and Spring King.

They released their first single ILL last summer, followed by woozy single the Zoo. The band dropped their Dan Carey produced debut album Means back in May of this year on the label, Play It Again Sam. The album is brimming with potential and full of poetic lyrics, but still has tons of room leftover for further improvement.

©Fews Heatwave

The Cavemen Penelope York

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oodbye Auckland, hello London! The Cavemen are here to stay and you better be ready – they’ll take no prisoners.

Heatwave wanted to dissect their wild brains like some crazy, mad professor, but ultimately they were the ones who messed with our minds when we caught up with them in their new home, London.

Heatwave: What kind of outlandish cave did you all come from? How did you meet and when did you decide to take the stage by storm?

“She Rides With the Reich” - Illustration © Ika Lesniak The Cavemen: Our songs come from nightmares, psychic delusions and an utter contempt for what’s good and decent. We spurt out songs like a compulsive masturbator – fast and furious! If we can’t get a song down within a minute of playing it, then we’ll move onto another. It’s always backwards or into the future and we rip off all the best riffs! Our subject matter? Death! Fucking! Speed! Action!

Lust! And it has to make us laugh or it’s no fun at all!

Heatwave: Following your great debut album, what other goodies are in store for us?

The Cavemen: We met in detention first day of high school in Auckland, New Zealand around 2011 and started sonically congealing in an asbestos ridden basement not long after... We started playing because all the bands we were seeing at the time were pretentious, limp garbage. We couldn’t go and see anyone like our heroes, e.g. Iggy Pop, The Cramps, Little Richard, and so we just did it ourselves. When we realised we could get free beer from playing, there was no going back…

The Cavemen: We’ve got a couple disks hitting the garbage can soon... Dog on a Chain/Death Row on El Beasto records and Too High To Die/I’d Kill (To See You Dead) on Goodbye Boozy, are a couple of 7-inches that are both coming out in a few months. Right now we’re also working on our second album. It’ll be louder and nastier than anything you’ve heard before!

Heatwave: Are you in London to stay? Please say yes! And if so, do you think the Big Smoke has what it takes to survive the Cavemen?

The Cavemen: Our favourite bands are the Admiral and the X-Ray Fiends from New Zealand. The Admiral are the toughest two-piece punk machine in the hemisphere, and the X-Ray Fiends are like Black Sabbath going head to head with Link Wray in a tsunami!

There is a lot of killer wax out on Stink Magnetic and 1:12 in New Zealand too.

The Cavemen: We’re here to stay, baby! We’re like the Bubonic Plague, we ain’t stopping until we’ve infected London and all of Europe! Or until get deported. We can take whatever this city can dish out. We’ve won over the rockers, the illegal overstayers and the criminally deranged in this city... Next up, the pensioners and school kids!

Heatwave: How do you usually work on new pieces? What makes you tick?

Heatwave: Which bands of today would you recommend?

And who would you most like to share a stage with?

We would want to be the backing band for Elvis Presley. We’ve been experimenting with some chemicals and are pretty close to bringing him back from the dead. We’re also currently trying to put together a festival with Sick Thoughts and the Spits in the Chernobyl nuclear reactor!

Heatwave

New Beats from the Street

Lucy and the Rats Penelope York

power pop that brought a solid middle ground, and then I filled all the blanks inbetween with rock ’n roll and punk like Raspberries, Big Star, Blondie, Cheap Trick, Rockpile, Nick Lowe and Tom Petty. And here we are.

Heatwave: The London underground scene is hooked, and you guys have a legion of devoted fans. How are you planning to conquer the rest of the world? © Lucy and the Rats

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hen the hot temperament of three Spanish rats is mixed with the delicate timbre of an Aussie frontwoman, it results in the supreme combination of punk rock with all-too-sweet melodies. Lucy and the Rats are different to most punk bands, and it is their uniqueness which makes them a breath of fresh air in the London punk scene.

Heatwave: Who are Lucy and the Rats? How did you come up with this powerful mix of sweet melodies and kick ass punk rock? Is there an elaborate equation involved or is it just pure awesome guts?

Lucy: Lucy and the Rats are a power pop band at the end of the day. People say it’s punk, or rock ’n roll, and it is, but to me it’s as much these things as Blondie, or the Beat are.

Punk and rock’n roll are all about good, simple songs, and the way it’s played. I really love melodies and harmonies, and find it hard to write a song without them. I start with the rhythm and notes of a melody, and some initial lyrics to give me the rhythm of the melody naturally through the syllables and pauses.

When I’m doing this, I’m messing with a guitar to guide me along and it drives the melody progression. Just simple chords.

Some of my favourite bands and favourite songs includes a lot of 50s and 60s stuff with incredible melodies that can be broken down and played on two, three or four chords no matter how complex they sound. I love that this is the way music is.

So we start there – we use a simple chord progression that works, and add attack and energy with cool beats and swing, add some clean guitars that complement each other, and then explore the chord while we’re sitting there. When it works, it feels so fucking good to play.

Heatwave: You mentioned stuff from the 50s and 60s, but could you list some of the bands that influenced you the most along your career?

Lucy: That stuff was my biggest initial influence. 50s and 60s rock ’n roll, like Buddy Holly, Sam Cooke and the Hollies. Everybody around me growing up was listening to punk rock and I also liked bands like the Ramones, Dictators, Real Kids, Saints too. I loved the urgency and angst, but really because I could see how it was influenced by my true love, 50s and 60s pop. Especially the girl groups like the Chiffons, the Ronettes, Dixie Cups, the Shirelles and the Shangri-Las. The melodies, the harmonies, the rhythms, and such simple songs, it sounded so easy, but it’s not.

Beautiful songs with melodies and harmonies were my main influence. Now, with all that on my radar, there was 70s and 80s

Lucy: I wouldn’t say we’re looking to conquer the world. We love to play and want to do as much of it as we can. We’re lucky we have a forum to do so. We’ve all been playing rock ‘n roll for a long time, and so have a lot of our friends. We enjoy going to gigs, supporting the bands, driving, lending gear, giving bands a place to crash, and all that as much as playing.

Our friends do the same for us. It’s a rock ’n roll society. It’s underground, but connected worldwide, so we’re lucky we can go pretty much anywhere in the world and have the chance to play and catch up with mates at the same time.

Heatwave: Following your singles Girl and This Situation, are there any plans for an album in the near future?

Lucy: Yes, we definitely need to get onto recording the LP. The songs are all there, so we may seriously need to consider a double LP. It’s ridiculous, but I want to record them all because, for me, there are no fillers and all the songs play a part. I doubt that’s the way we’ll eventually go, because it would be a lot of work, so we might just follow up quickly with a second LP. The problem is finding time to record. We typically just record at home, then we’ll go to a rehearsal room and get the drum tracks on one or two mics, and then come home and party all night before doing the rest of the tracks. Mike Cannibal, on guitar, is the engineer and mixes everything. It’s a really fun process, we just need to get off our asses!

Heatwave: Was there a moment when you knew you had formed the perfect band? Or did that come gradually over time?

Lucy: There are so many variables that need to align for a band to work. Some are really practical, like do you all like the songs, get along, get the direction or concept? But others are less easy to define, chemistry, enthusiasm, inspiration. Or even simply, does it feel right?

Without all of these things I don’t think a band can work or be any good. I don’t even really know what all the variables are, but if you are missing just one, it’s a lost cause. So, yeah, I think it works and it did straight away. That’s a rare thing in my experience.

Be sure to check out their new 7-inch out on Surfin Ki Records!

7

RETROFUTURE Penelope York

I

t was November 2013 in the neighbourhood Homerton, nothing to see, and even less to do. A group of friends got together to create “absurd lyrics and chaotic, nonsensical sound,” their words, not mine. What seemed to be an unstructured vision inspired by “harsh, clumsy live shows, mixed with stupidity and cosmos,” soon took on a bigger meaning. The music channelled the repression and social upheaval of the city, and created Retrofuture, a project of ‘love and passion,’ as vocalist Gema puts it.

Retrofuture initially called their sound ‘pataphysic punk,’ but Gema, a fervorous melomaniac, has said she now sees it as a mere pop band. I strongly disagree. Their sound is far from pop – yes, it has the basic elements, but the juxtaposition with cold, new wave sounds brings to it a whole other level.

The band was founded by members Gema Germen on vocals and guitar, and Raquel Torre on bass. Add to the mix Rory Clark on guitar, Chema Reilly on drums and Jimmy Jones on the synth and sound production, and Retrofuture were born.

Although their soon to be released EP, Diagonals in The Void, out on Glass Eye Records and Discodrome, included Manuel Santos of Lucy and the Rats on drums, it was the addition of Chema that cemented the line-up. ]

© Marta Magenta Each member has plethora of other musical projects to their name. Gema with Redentoras Humilladas, Las Rodilleras and Putilatex. Raquel with Ano, Cyanuro and Tortura. Chema with Caballo Tripode, Program, Le Jonathan Reilly. Rory and Jimmy also played together in the Ten o Sevens and Dying Shames, with Jimmy also taking turns in the Ricky C Quartet and his own project, Lucid Fever.

Retrofuture’s name precedes them. It perfectly captures what their sound is all about.

When I hear them, I enter into some twilight dimension of past and future, of transcendental musical intrigue and lyrical machinations. Yes, I know how crazy it sounds, but I can’t find a better explanation for it. I look into the looking glass and let my senses fully absorb their music.

This is Retrofuture.

Heatwave: How do you approach your ideas and how do you work them out?

Gema: We usually bring an idea to the rehearsal space, where we develop it all together.

Whether it evolves from a small

guitar part, synth melody or Heatwave: What does the whatever. I always whistle the future hold for Retrofuture? tune of the vocals when I’m making a new song.

Gema: I’d like the band to have Heatwave: What part does military style discipline towards each member play when the music, but that’s a little creating a new song? complicated when everyone Gema: The roles are not set in has jobs. I just want to rehearse, stone. We listen to all the ideas do more songs, record and play and try to put them together everywhere. and see if it works. We all have strong opinions and thoughts Heatwave: Which other about every instrument, not just bands do you recommend? our own. If someone doesn’t like something, we don’t play it. Gema: All of our other bands, of course. Others from London Democracy doesn’t work.

I recommend would be Ravioli Heatwave: Do you guys Me Away, We, Electric Pencils, try different instruments Veronica Falls, Scraps, Fat out along the composition White Family, Raw Fun and process? Which do you feel Shopping. is most important?

Gema: Jimmy and Chema play everything, so they sometimes steal someone else’s instrument to explain what they have in mind. I’m very particular with the sound of my voice and guitars, preferring cry-baby chorus guitars and loads of delay. I just like two amps, Fender Twin Reverb and my Roland Jazz Chorus 120. Not forgetting the importance of analogue synths.

Heatwave

New Beats from the Street

APACHE Penelope York

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ho would have thought that such a damn good ol’ rock ‘n roll band like Apache could be hidden from me for this long? Apache has that raw energy that I not only adore, but admire. Raw energy might sound simple but it’s quite the opposite. We are so subconsciously restricted to the laws of the society that not even when we’re alone at home, speakers at full volume, not a soul nearby, and completely naked - not even then are we totally free, entirely Raw. © Christopher Lopez-Huici

most music publicists we've worked with in the past have had that broad of a spectrum musically.

For us it would probably mean that we have a tendency to shy away from hiding our vocals behind the music or drowning them in echo and reverb, like so many of our peers these days. Plus, we aren't afraid of a tune with pop hooks and have an undying want for shredding guitar solos. Loud Guitars, loud vocals, these are the things that rock ’n roll was founded on and that is what we've always considered ourselves – good ol' fashioned rock ’n roll.

© Apache

All the way from San Francisco, with reminiscences of El Paso, Apache are vocalist Omar Hernandez aka Apache, bassist Carlos Palacios, lead guitarist Nick Allen aka Nicky Slick, rhythm guitarist Joey Genovese, and drummer Matt Costa.

Musically, their love lies in pure debauched, raw rock. Just picture this, they’re kind of the bastard sons of a ‘ménage à trois’ between Kiss, the Ramones and the New York Dolls. Okay, you can now erase that from your mind.

Apache has a rather long list of sub-genre labels. Their sound has been called everything from 70s pop to glam punk rock, psych garage to stadium drums, classic hard rock and even…

‘Purveyors of Heavy Pop.’ We’ll get to the bottom of it later on.

But c’mon, labels, for this kind of music like garage-glam-psychpunk-rock, can we get a longer hyphenated compound over here, please? Dashes are kind of redundant, don’t you think? And believe me, I’m one to love messing with such funny hyphenated wordings. Yet Apache is just fucking rock ‘n roll. Period. There, and everybody’s happy.

Without playing a single note, Apache gets a record deal with Birdman Records. Bam! Say what?! Even featuring members of Cuts, Parchman Farm, and Genghis Khan – who need no introduction in the Bay Area, this is remarkably twisted!

Now, with a third LP arriving this Summer, Alcatraz: An American Tale of Rock ‘n Roll, Apache has a considerable discography of great solid rock tunes.

These guys have that timeless rock feeling to them and their plans have no expiration date. So, hold on tight to good old fashioned rock ’n roll, for Apache is making sure it’ll stay as timeless as it ever was!

Heatwave: The name Apache makes it harder to find you guys. So, why Apache, and as a single word nonetheless?

Heatwave: Let me get this straight. You got a record deal with Birdman Records, ten years ago, without a band or songs. What kind of sorcery was that?

Carlos: I was playing in the Cuts at the time, who were already signed to Birdman. One day in like 2004 - 05 me and Andy Human were hanging out jamming with Omar and we wrote the song ‘Ride Apache Ride.’ We thought it was kinda fun, because Omar was already going by the name Apache and we could draw lyrical similarities between his crazy life and that of a warrior. Soon after the Cuts started playing ‘Ride Apache Ride’ in their live set and we would bring Omar (Apache) up to sing it and the crowds loved it. It quickly became a fan fave and eventually Birdman got wind and offered up a record deal to Apache (Omar). At that point Apache was just my best friend, and an all around party dude.

He managed to live day to day with no job, no official place to live, and all the love in the world, in one of the most expensive cities in the world. At the same time, I had been bitten by the songwriting bug, feeling a little unenthusiastic by my waning involvement in the Cuts. I also had recently moved over to San Francisco from Oakland, where me and Omar reconvened after his recent return from being tricked into fathering someone else's baby. It was through this perfect storm of love, lies, and greed that Apache was born. It was a three piece originally with Omar singing and playing drums, me on bass, and our friend Lane on Guitar. But soon after we moved Omar to the front and since then have had well over 20 lineup changes.

Heatwave: How do you work on your ideas? Do you combine your thoughts, jump in and see what comes out of it or do each of you have your own distinctive roles in the process?

Carlos: It works song to song, but for the most part I'm the main writer. Both Omar and Nicky Slick, have brought a couple completed songs to the table, but it's usually me. We go about it by finishing tunes at home then bringing them to

Carlos: When we first started we definitely were not considering Google searches for our name as the reason for choosing it.

Omar took that name as an alias and eventually grew more infamy out of a song that I'll explain later.

Heatwave: You call yourselves ‘Purveyors of Heavy Pop’ on Facebook. In a world of thousand and one labels, what exactly is heavy pop for you?

Carlos: I'm not sure we've ever called ourselves that personally.

That was more of a publicist’s way of trying to describe us at one point. I can sit here and describe what heavy pop would be to me – Twilley, Petty, Cocksparrer, Badfinger, but I'm not sure Heatwave

© Christopher Lopez-Huici

the band to let each member start to add their own flair musically.

Most of my tunes are written on acoustic guitar then get reimagined with heavy drums and guitar solos once the band gets a hold of it. It helps for me to do it that way so that I can focus on the vocals. Apache is heavy into pop sensibilities, so we really like to emphasize the vocal hook. Also depending on the tune, I'll write most of the lyrics, then let Omar, get a shot at whittling things down to better suit himself vocally both rhyme and meter wise. Then Nick will add his solos, while me and Matt begin to work out the rhythm. But since we've had this current lineup for a solid two years we were able to write a couple of the tunes for the new album all together at rehearsal.

Heatwave: And while we’re at it, are you working on something new at the moment?

Carlos: Yes!! Alcatraz: An American Tale of Rock ‘n Roll, our new album is out now, on our very own King Rocker Records and co-released with Burger Records. It's a concept album with an accompanying cover comic from Avi Spivak, that tells the fantastical story of both me and Omar getting thrown in Alcatraz only to escape and travel the land in a rock band. It’s still got the classic hard rock Apache sound, but with some new tunes venturing into our own Lowrider music heritage. We've really matured into our own sound.

Heatwave: To San Francisco by way of El Paso, you took glampunk by the horns, or so I heard.

How strong is the scene around the Bay Area?

Omar: If you've seen these glam-punk horns let us know, because in San Francisco glam ain't that popular. The scene is heavily influenced by indie rock, which we are not.

Carlos: We left El Paso almost 20 years ago, because if you grew up there as a punk rocker, you knew it was only a matter of time before you either ended up in a Texas jail cell, a drug mule south of the border, or even worse in the burbs. I had been setting

up shows in El Paso since I was 15, so I already knew a ton of bands and musicians before I even got to the Bay Area at the tender age of 18.

I've since seen the Bay Area scene change so many times it's insane. The big difference between here and El Paso is that in El Paso, the scene was really unified, sure different factions existed but they were all still under one umbrella - Punk. In the Bay Area all those factions separate, so it's much harder to tell what's actually happening in the town. So within our own personal rock ‘n roll scene it's great, but Omar is right, this scene tends to hinder us from participating in many broader San Francisco events due to our non indierockness. Regardless, Apache has always seen itself as a global band, not just a San Francisco band, we have kinships with the New York scene, our third show ever was in New York.

We feel more in common playing with our buddies Daddy Long Legs, who I co-wrote the song ‘Motorcycle Madness’ with, and we both perform it live. We've never felt like we had anything in common with Thee Oh Sees or Ty Segall. We started before those bands and never really got into their musical aesthetic. We also always dressed sharp and in boots, having grown up with Latin style on the border.

Bay Area punks had a hard time with that, we never fitted in with them. They like combat boots, we like Beatle boots.

Plus, the style of music we played sometimes would put us in a heavy rock scene for a while, but that wasn't right for us either, because even though we have some metal leanings, i.e. ripping solos, we aren't really a metal band. It's always been difficult for us in the Bay. So that's why we tour Europe and do one off shows here and there across the US. Heatwave: What about your other projects? Is Apache your primary focus at the moment?

collective that's trying to help insure each other's projects are bangin’!!

Actually we will be bringing Slick! and Big Tits on tour with us to Europe. If you can imagine a Motown Revue, that's what King Rocker Record's is attempting to do in these modern times, but with only a fraction of the budget. Both me and Matt will be the rhythm section for all three bands, while Omar sings the lead for Apache, Nick our lead guitarist will be fronting Slick, and Joey our rhythm guitarist takes the lead for Big Tits. We will be doing three sets a night for 41 shows, so in a sense we will be playing 123 shows. Yikes!!! Me and Omar also play in Dancer, and I've got my own solo project called Carlitos Guey's. We are all busy dudes.

Heatwave: We can’t wait to feel your frenzied insanity on this side of the pond! What are your expectations?

'Cause we’re ‘politely’ waiting for you to kick ass like there’s no tomorrow.

Omar: We love Pub Rock and we've been waiting our whole lives to make it past baggage claim at Heathrow.

Carlos: Three weeks into our European tour we'll be landing in England. Expect no less than a hi-fructose well oiled rock ’n roll machine, that hopefully will get the British nod of approval.

Carlos: I'd say Apache would be mine and Omar's main focus, but we are all head deep in other projects. Slick! Is Nick’s main focus, Big Tits is Joey's.

Plus, we all play in each other's bands and consider ourselves a rock ‘n roll 11

l l o R n ‘ k c o R s t a Night Be g n i h t e m o S h t i W To Say Nick Kuzmack (Nixbeat)

N

ight Beats hail from Seattle, Washington, and bring to the world sounds that not only overwhelm, but inspire. Their music is an infectious combination of soulful rhythem and blues enveloped in the distorting sensations of psychedelic rock ‘n roll. To witness one of their performances is to be part of an absolutely stunning experience. On April 5th, 2016 in Salt Lake City, Utah, Night Beats played a show as a part of a national tour promoting their new album, Who Sold Our Generation, which was released through the London, England based label, Heavenly Recordings. The performance drew an impressive crowd, who after checking out Night Beat’s set could be seen making moves to the merch table to procure copies of Who Sold Our Generation. After plugging it in and switching it on, the only course of action is to take the album in, in its entirety.

The album opens up with the track ‘Celebration #1.’ It’s echoing nature, exemplified by wailing guitar serves to haunt the listener into letting go and devoting all thoughts of a wandering mind into the reverberations of the record. The contents of this album are filled with tracks with something to say.

Who Sold Our Generation demands listeners pay attention to its provoking theme that raises the question of who betrayed a bright future for today’s youth.

While examining Who Sold Our Generation, listeners can explore the track ‘No Cops’ to pick up a clear indication that the Night Beats have extended a rock ‘n roll invitation to discuss the rampant police abuses in the United States.

Heatwave

© Lid Von V

In an effort to dig into the roots of Heatwave: The name ‘Night Beats’ Who Sold Our Generation, Heatwave sat reminds me of the title of Sam Cooke’s down with guitarist and vocalist Danny Lee 1963 album Night Beat. Is there a Blackwell to chat about Night Beats’ soul correlation and if so, what about Night origins, the crisis of police misconduct in Beat is so influential? the United States and more!

Danny: That is the reason behind the Heatwave: First off, let me say it was a name. I’ve always loved Sam Cooke, R&B blast to DJ for Night Beats when they and soul music, but my approach isn’t came through Salt Lake City in April. standard. It’s a reminder to me that the How did you enjoy that show? core of great music comes from the soul.

Danny: I’m glad you did. We had a good one, Salt Lake City is always good to us.

Heatwave: You recently played the Glastonbury Festival in the United Kingdom, how was that?

Danny: Muddy, long and amazing

Heatwave: In an interview with blackonthecanvas.com, you mention that the ideal concerts you’d want to attend would be James Brown at the Apollo and Sam Cooke at Harlem Square Club. How influential is soul music to you?

Danny: It’s everything. All of the music that I love has soul. But soul takes different forms. Jesus Mary Chain or the Cramps have soul to me. It’s undefinable at the same time.

Heatwave: Are you a Stax or Motown kind of band?

Danny: I couldn’t pick one over the other. Motown had the likes of Marvin Gaye and the Four Tops, where Stax was more Otis Redding and Albert King. I think Stax had more of a tighter sound, but that doesn’t mean it’s better.

Heatwave: Do you attend soul nights in Seattle? If so, what are they like and which ones should readers watch out for?

Danny: I don’t go out much in Seattle. When I have, there’s Motown Mondays at Bar Sue. That’s fun.

Heatwave: After listening to your latest album, Who Sold Our Generation, the song ‘No Cops’ really stood out. In an interview with larecord.com, you mentioned that track stood to address the injustices of events like the Ferguson shooting and the gunning down of Trayvon Martin, as well as other abuses of power. Do you see people trying to confront those abuses, and if so what are they doing?

Danny: There’s not enough. I’m sure there are a lot of people somewhere doing something to help their community, but as far as politics, we’re not seeing enough change regarding the abuse of power.

Heatwave: Who Sold Our Generation comes across as quite the socially conscious album. What influenced the title for the album?

© Night Beats

To check out more on the Night Beats, be sure to watch their space, Danny: The current state of our generation, opening the line of www.thenightbeats.us or their Facebook at @thenightbeats.u.s. questioning without stating an answer. Hopefully empowering someone to take a step forward, to not take shit lying down – rock ‘n roll.

Heatwave: Do you think rock ‘n roll or music in general is effective in influencing actions to address topics like abuses of power that are professed in Who Sold Our Generation?

Danny: Absolutely. At the forefront of any social change is art.

Bob Dylan and Bob Marley were the voice of a generation and culture. It gives people comfort I’d like to think in dealing with the world around them.

Heatwave: What are you drawing from for the song ‘Right Or Wrong?’

Danny: It’s in the lyrics and sounds. I’ve already said it.

Heatwave: Who Sold Our Generation was recorded in Echo Park with the help of Robert Levon Been of Black Rebel Motorcycle Club. What was it like recording with Levon?

Danny: It was an honour. I’ve been a longtime fan. I’m lucky to now call him a good friend. He’s a great guy to have around in the studio and out.

Heatwave: Are Night Beats planning on visiting Europe?

Danny: Yes. Hopefully the Brexit doesn’t affect that. We’ve made good friends there and have had countless good shows.

Heatwave: What can readers look forward to from Night Beats in the near future?

Danny: Wait and see.

13

Linsey McFadden

ollowing the success of their first European tour in 2015, the Black Mambas from Los Angeles, California are looking forward to releasing a new album and getting back to this side of the world to tear shit up all over again.

The Black Mambas are made up of Michael Price on vocals, Dorian aka ‘Biggs DC’ on guitar, Leroy Martinez on drums, and Billie Telephone on bass, featuring Bobby Persson on bass for the European tour.

After getting their start in guitarist, Dorian’s, garage back in 2009 these guys have been moving forward at a fast pace. When they started off, they plugged into 15-watt amps and without a PA, but that didn’t stop them from churning out some solid, heavy hitting rock ‘n roll jams.

“We wanted to rock ‘n roll, so we found a way,” Michael said.

“Here we are now.”

The band put on their first live gig at their drummer, Leroy’s, house. They immediately showed everyone watching that they definitely had what it takes to rock ‘n roll.

“The aim was to sell 100 beers and get everyone hammered, so if we played terrible, at least no one would remember,” Dorian said. “The party eventually ended up getting so out of hand, some dude got naked and jumped off the roof. He broke both ankles. At that point, we decided to call it a night.”

The guys musical stylings have changed over the years, but their desire to play badass music has not. Before starting the Black Mambas, Michael worked in a street punk style band, Youth

© Christopher Lopez-Huici

© Luke Baker

Black Mambas F

Cult Craze, with Leroy and performed in some talent shows with Dorian. Eventually, all of the guys came together and formed the band we see today.

“Our influences have changed and been different over the years,” Leroy said. “The ones we can say we have in common would be the likes of the Kids, Chuck Berry, Dr Feelgood and Ian Dury. We’re always looking for something good.”

After cutting their teeth the dirty rock ‘n roll way the guys are looking forward to getting back on the road in Europe and catching up with some of London’s finest – Los Pepes and the Scraps, whom they shared the stage with during their last tour.

The Scraps’ bassist, Bobby, toured with the Mambas on bass during their last European tour. Everyone that partied with these guys last year will no doubt be pleased to know that Bobby is reprising his role alongside the Mambas again this year.

The guys joke that the tour will probably end up being a drunken haze for them, but hope to make some memories this go round.

Our Heatwave bases in London and Amsterdam will both have a lot to live up to following last year’s Mambas ragers .

“Our show in London was mental. The energy of the crowd was amazing,” Leroy said. “Same with Amsterdam, except the party went on longer. We rocked Pacific Parc till the sun came up!”

Beyond their European tour, fans will be pleased to know that the Mambas are currently wrapping up production on the anticipated follow-up to their 2013 self-titled debut album.

They have been working on this new release alongside Gabe Lowry and the Stitches’ Johnny Witmer and hope to have the finished product out in the next few months.

“Our work is never finished. We will do what Mambas do…

Keep on fucking shit up,” Michael said.

15

YAK

Y

© Andrew Tseng

Emily Slupecka

ak are unique threepiece band that started in 2014, formed of two Brits and a Kiwi. Their career kicked off quickly, becoming popular in London as soon as they had finished their first set. It was just a matter of time before the small stages they were playing became some of the biggest festivals in the country. Yak’s shows are wild and the audience gets fully into it. There are no rules!

Yak released their first album, Atlas Salvation, earlier this year on Octopus Electrical.

Heatwave met the band just before one of their final London shows playing with Last Shadow Puppets, at the Royal Oak on Columbia Road.

Frontman, Oli Burslem, mused about going home to have some tea with his girlfriend, and about bassist, Andy Jones’, need to do some gardening, before discussing their music memories and band's influences with us alongside drummer, Elliot Rawson.

Heatwave: What's your earliest memory of music?

the music was or anything, but I remembered I was really into it.

They must have played the same thing for about 20 minutes, and I was just like, ‘fuck this is just great!’. After that, Yak had a jam and Elliot Rawson: I'm not very good at memories, but I remember played quite simple stuff. That was maybe the catalyst for forming my parents playing pirate music at BBQs. the band. And to then release simple, repetitive nonsense.

Heatwave: What band or musician inspired you to become Heatwave: What inspired the video to ‘Harbour the Feeling’? a musician? Have they influenced your sound too?

Oli: Andy went on the Body Retreat, and Elliot went back to his Oli: My brother played the drums, so that was always around me motherland, New Zealand, because he hadn't been there for from the early age. I maybe took an interest in music from that and years, but we had a video to do. That was interesting. I realised we the local scene. There are a lot of bands in the village that we grew couldn't do a live video, so decided to do something else. I think up in, and maybe as a teenager we started to hear them more, I was having some pints in a pub with my friend Ben Crook, who but probably Miles Davies and Steve Reich when I was 12, were directed the video, talking about it, and were running out of ideas. main inspirations.

I said, “You know what, let's just call up tomorrow and say not to do a video, because we have no ideas.” Then when we had one more Heatwave: How did the song ‘Hungry Heart’ come about? pint, and I said, “How about a bucking Yak?” and he was like, ‘what?’

Oli: That's the first song we did together. I remember being quite I said, “we could just make it look really good, but it's just a yak.” drunk and getting off a bus and walking into a random venue. It We wouldn’t have to get people to dance, and I wouldn’t have was at around two o'clock in the morning, and I just walked down to lip sync. It was a big idea, and I ended up lip syncing anyway. on my own and into the basement. There was a band playing – I couldn't tell you what band it was, as I can't remember a lot of Heatwave: How did you meet Pulp's bassist, and the it. All I can remember is some guy playing maybe two notes and producer of your album, Steve Makey? the drummer playing quite repetitively, and then just some guy Elliot: We played a thing in Liverpool, and we had to drive going off and on. Then, in the morning, I couldn't remember what back to London, and Stevehad been there too and was in our Oli Burslem: Probably church.

Heatwave

friend Douglas’, Douglas Hart of the Jesus and Mary Chain, car. Douglas has done a couple of videos for us, and he has an online streaming show with Steve called Call this Number, where they film you live, and the video goes straight on the internet.

It can only be watched while it is being streamed, then it disappears forever. So we met Steve through that and then he ended up producing some of our album.

Oli: They’ve got a video of Call this Number coming out soon and you can see all the recordings. That will be really good.

Elliot: Yeah, they do it with lots of musicians in a basement. Douglas always had his own camera when we recorded it, and he and Steve were mixing the sound live.

The second they were done, they were done! Afterwards we were kind of half joking with Steve saying ‘Oh, we should just do the whole album that way. It's so easy’ and then that kind of started the process of how we recorded with Steve, just three of us in one room.

Oli: As soon as we went in the studio I said, ‘Right, Andy you put a bass like that, Elliot you put drums on, and I put a guitar like this,’ and you detach all these things from each other and it becomes something else. and not our thing. It was important to us to replicate what we are live on the record. Steve knew exactly what we wanted to do.

Heatwave: What are you currently listening to?

Oli: I'm trying to make compilation on Spotify of everything that we have ever listened to, but it's a complete minefield. I've been doing this for days. Cate Le Bon’s record, I find that quite interesting. Steve Reich Four Organs, Derek and Clive, comedy from the 60s.

Heatwave: Can we expect the new album soon?

Oli: We'll probably release something in October. I mean, it takes a long time to make records now. Just getting the stuff pressed and getting people to press it takes time. Just getting people to press things. (laughs) Heatwave: You don’t wear shoes at shows. Any reason for that?

Oli: I sometimes don't have the right shoes to complement my trousers sometimes. If we've been on tour, I likely don't have any socks left, and my shoes are so shit it's quite uncomfortable on stage. I don't like wearing shoes. © Nick Sayers Photography

17

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Fat White Family Emily Slupecka

F

at White Family are one of those bands you either hate or love. I remember when I heard them for the first time, I wasn’t really into them at all. That changed after one drunken night when my friend dragged me to their gig. Their live show completely changed my mind. © Ika Lesniak

Fat White Family are an amazing live band.

They are raw, controversial, messy, and most importantly, real. They don’t pretend or play dress up.

of your soul. Baby, baby all your dreams are perfectly under control” on the track ‘Hits, Hits, Hits.’

Heatwave had a quick chat with Lias about The band were formed in 2011 by guitarist politics, art and everything in-between.

Saul Adamczewski and frontman Lias Heatwave: Do you feel like living in Saudi in South London. Frontman Lias south London has had any influence explained that the moniker is an accidental on your sound as a band?

Bowie reference.

Lias: Sure, but I don’t really live in south I don’t think we realised at the time that London anymore. I don’t live anywhere Bowie started under the name Thin White anymore. I guess at some point south Duke,” Lias said. “I think it’s a Bowie London was a place where there were a lot reference but without mentioning it.” of punk venues and pubs.

Fat White Family released their debut Places where you can go and make things album Champagne Holocaust in 2014. It’s happen. I mean it is not a specific kind of packed full of psychedelic, reflective tracks sound, ‘the music is coming from south about life, drug addiction and war. Fat London’ or wherever.

White Family are on a mission to be heard.

You can see different kinds of life, different Their latest album, Song for our Mothers, kinds of ideas all against each other in a dropped earlier this year. It’s full of very small space, so in that sense south melancholic and sentmental tunes, the London was a big part of what we ended album provokes and confronts the listener. up making, but maybe not in terms of direct Lias tears down all boundaries singing literal sense. ‘honey, honey, it’s no use coughing up half Heatwave

Heatwave: Do you find more inspiration in sadness or happiness when being creative?

Lias: I think it’s a little bit simplistic to divide those two emotions. Generally, I’ve always found that creating interesting art – any kind of artistic practice either singing, making music or making pictures, doesn’t mean you have to be fucked up.

Sometimes it can seem like it’s helping, however, I think you’re usually more creative when you’re not totally depressed.

Maybe just before or just after, but when you’re really down you can’t get out of bed, can you? So, I’m not sure about that one.

Heatwave: You guys talk a lot about politics, do you think that there’s a responsibility for an artist or public figure to use their platform to show what’s important globally?

Lias: No I don’t think it’s my job to show people what’s important. I think it has always been an artist’s job to be responsible politically, but it is other

people’s responsibility, as well, in order to give an honest account of the period of time they live in.

it on Soundcloud. We decided that we were going to live as buskers in Spain.

When we got to Spain it was really depressing and hot. We were on the beach, sitting in the shadow watching these tan, young guys with their girlfriends.

Heatwave: How do you feel about the UK’s vote to leave Europe?

Lias: I think it’s a political issue, but yeah, it’s a huge fuck up. My family wanted to leave, anyway, and I couldn’t convince them otherwise.

We were white, hiding in the shadows and just started singing that song and eventually after five or six versions we decided to call it that.

The power of the mainstream media has directed people on how they actually voted. How easily their lives changed.

Heatwave: How was the tour in Australia and New Zealand? What was the reception like?

Heatwave: Do you consider your albums to be continuations of each other?

Lias: I suppose, it depends on the kind of a mood I’m in. They were never meant to be a continuation of each other, because the line-up has changed between them. It’s the same band officially, it’s just changed memberwise. Shifting and changing constantly.

I consider the albums more like a reaction to each other. The new one is really claustrophobic and conscious. I would like to do something different on the next one. Something a little bit more inviting.

Heatwave: What is the biggest difference from your side project with the Moonlandingz and what you do with Fat White Family?

Lias: I usually go up to Sheffield to work on the Moonlandingz. I’m actually in Sheffield right now doing a music video with those guys. I come here and do some sort of basic tracks, while sitting in a little room with middle-aged guys, and we work out some lyrics. It’s less painful and it’s more fun, for sure.

I mean, I love Fat Whites, and I love playing with them. I love the feel of the live band.

They’re different things, different people, different kinds of music. Moonlandigz is less chaotic for me.

Heatwave: What’s your favourite part about playing shows?

Lias: I guess the time when I can completely truly act. I enjoy being on stage more than anything else. I don’t think I think about anything when I’m on stage. Everything is kind of going into the performance, because I’m usually a neurotic man.

Heatwave: How do you deal with the craziness at the shows?

Lias: That’s probably the best place to go on tour. The first time we were there the audience were incredible – really energetic, really into it. © Lisa A. Walker

Lias: I try to inspire people as much as its possible. I like what people bring to it.

It’s kind of sick, but extremely sensible.

It’s not so much dealing with it, it’s more like maintaining it.

Heatwave: What is your favourite place to play live?

Lias: My favourite place is Glasgow. They don’t really give a fuck there. When they come to the show they really go hard.

Heatwave: How did you become musician? Is it true your family had no connection to music before?

Lias: They listened to music, but it wasn’t punk or anything like that. Nobody played music or had an idea to play music. I didn’t sing anything. I didn’t sing a note until I was 18 or 19, and moved to London and met other people.

I thought that if other people could do it, I could give it a shot, but it wasn’t a natural part of my life.

Heatwave: What’s first memory of music then?

Lias: Probably my dad. He listened to kind of Kabyle music – guys you’ve probably never heard of, but they’re from Algeria.

Probably listening to that in the car was the first thing I remember hearing.

Heatwave: How did ‘the Whitest Boy on the Beach’ come about?

Lias: Saul, Nathan (Saudi – my younger brother and keyboardist) and I were sitting on the beach in Barcelona shortly after we finished the first album, and I had put

If you can get out that far, which is tough for a band, it’s a great experience. They’re less scene-stroking than Americans or European teens. They make you feel glad you came.

Heatwave: Sean Lennon co-produced your second record. How did that friendship come about?

Lias: The very first time we went to the US for SXSW, his band were playing directly after us. He shouted onstage, “What a great band that was,” and then he took us out for dinner afterward.

We’ve just kind of been friends – working together on different projects ever since.

Heatwave: How did you end up jamming at the party with Lady Gaga?

That seems super random!

Lias: She came to one of our gigs with Mark Ronson and he is a good friend of Sean. Then we partied and had a jam afterwards. Just a bit of fun! It’s New York , a lot of weird things happen in New York.

Heatwave: What’s your life motto?

Lias: Work sets you free!

Heatwave: If your music were a place, where would it be?

Lias: I imagine it would be Merton in South West London.

Heatwave: What’s happening next for Fat White Family?

Lias: We’re finishing our festival season, then we have a gig in Brixton. After that, I am going to take a huge break and lock myself in the studio.

19

“Stay Sick Stay Safe” © Savage Communication

Savage Communication S Linsey McFadden

avage Communication is a London-based rock ‘n roll influenced art duo consisting of Martin Clarke, and Marco PalumboRodriguez. Their artwork has already permeated its way through London’s music scene. You might even be a fan of their aesthetics already without even knowing it.

Marco has run No Front Teeth Records for the last 16 years, a label with a very prominent signature art style.

Martin on the other hand has worked in the London area as a tattoo artist for 20 years and currently owns Bluebird Tattoo in Watford. Both men have designed tons of t-shirts, record sleeves, book covers, and much more.

After the project got off the ground the guys decided to give themselves a working title, rather than just using their given names. The idea behind the pair’s moniker is simple – art is all about communicating with the viewer.

Heatwave

The artists hope to interact with their viewers by visually depicting thoughts, concepts and memories.

“Although most of our pieces are centred around a particular figure, we never want our work to be as discernible as just that,” Marco said. “This is why we layer and interlace our work with humour, horror, sorrow, desolation and anything else.”

The pair have been painting together for almost three years, and things are going well for the two artists. They split all of the work from idea to execution, allowing the two busy men to create more works of art than they would be able to do on their own.

“We will initially decide whether it’s a piece we want to paint or print, but then as we work on it other lines of exploration present themselves and we fully dive in letting the piece take us where it wants,” Marco said.

“Often one of us will have an

idea to change the direction of a piece that the other may not have seen and we always go with each other’s instincts.

We never shut possibilities down.”

Savage Communication’s musical influences are demonstrated in much of their work, including their painting of Poison Ivy shown on the previous page. The painting, Stay Sick! Stay Safe, was made from acrylic, enamel, gloss, shellac, and glow in the dark paint on a board.

Some of the affects seen in Stay Sick! Stay Safe, come from one of Marco’s favourite materials – shellac. The use of shellac-based ink, a material created from the secreted resin of the female lac bug, creates cracks, splinters and fractures through the other mediums and layers.

“Much of our work is about how materials react with each other,” Marco said. “There’s a real risk, as we often don’t know exactly what will

© Savage Communication

happen and we could easily lose hours or even days of work if the result doesn’t work out – that’s where the excitement lays though, in that unpredictability. “ Paintings, such as Stay Sick! Stay Safe can take up to 30 hours to complete. It’s not uncommon for the guys to spend four to five sessions creating layers from the foreground to he background.

“Once you have a partner it’s hard to escape from knuckling down and getting work done as you’re always spurring each other on,” Marco said.

“It’s really great to share all the experiences together – the conception, the problemsolving, the successes.”

On top of painting, the pair is currently working on commissioned hand-made record sleeves, and other requested work.

They are currently in the process of preparing their next exhibition and are organizing a show in Germany for 2017.

For more information about their work check out Savage Communication on Facebook.

: g n i s i R Japan e v i t c e p s A Retro t s e t a e r of the G e n e c S c i Mus on Earth ton

Justin Crump

I

’ve been in Japan for over a year now, and it’s taken a while to find out where exactly the heart of the scene is.

The country is massive and the bands that make up the rock ‘n roll genre here go all across the board – from garage and punk to rockabilly, from noise to pop and everything in between. This place has it all.

The tough part in the beginning is, where do you look? Its not a mass promoted thing. Things are well promoted here, but its totally old school. It’s all handmade flyers and it’s usually not posted online unless it’s a big show featuring bands from abroad.

If you are part of a well-known touring band or have a cult following, chances are some Japanese label has already gotten ahold of your recordings and it is now in the hands of multiple distros. I found that out in 2012 when my own band, Nightmare Boyzzz, released our 7-inch, Nuclear Summer, a super limited 500 pressing release on a purple vinyl. Within a week or two of release we received an email from a Japanese label with an order for 100 copies to send to distros across the country.

© Giorgos Katapodis

Recently I was finally able to tap into it.

I went from knowing nothing to meeting so many people within a short time span.

Starting with a few days in Tokyo, it became very evident that there is beautiful group of bands here – a tight knit group, but a very large and dedicated one. The shows are extremely well attended. of us had played this small college town, in a strong art hub community. Ten minutes into the set and it was madness. All the kids knew all the songs and people were crowd surfing on a mattress. YES, that’s right, a mattress.

Now, lets fast-forward to 2016. My wife, as an amazing surprise birthday present, got me a flight to Tokyo and hotel rooms for a few days, to see Nobunny on their first Japanese tour. Couldn’t wait to finally get in there and meet some people. The We were shocked at how fast it happened. bunny and I are old friends. I’ve seen him Did we know any bands from Japan at the in multiple line-ups, including Bad Sports time? No. We would meet one later, in as a backing band, which I swear is the what some people say is one of the best tightest Nobunny line-up ever. It was also shows we ever played as a band. It was the best Hunx and His Punx tour, when he in Harrisonburg, Virginia at a house show was a backup guitarist along with Seth, with Your Pest Band, one of Japan’s best Shannon, and Erin. BEST Hunx line-up. pop punk acts. It was the first time either

The first show of this Nobunny tour in Japan I got to be a part of was in Yokosuka, a small city about a two-hour train ride from Tokyo. The subway and train system here is one of the most confusing things you will encounter, at first. Google will be your guide. I highly recommend a pocket Wi-Fi box if you are just visiting for a few weeks.

The first venue on this trip was a bar properly titled, FUCK YEAH! The place was so tiny, it was basically a hall with a stage and a bar that seated maybe six to eight people. It had a tiny stage that reminded me of some shit holes I had played in the South back in the day. Surprisingly, the sound wasn’t too bad in there.

The PA could have been a little louder, but I’m pretty sure they were pushing it to the max. The opening band was local, 23

© Andy Junk

the Solid 6 ½’s. They sounded like a cross between the Wire demo from 1975 and the Urinals. For the first band I saw in Japan, it wasn’t half bad! They had no merch, and it was only maybe their second or third show. Hopefully some recordings surface from them soon.

The next band up was Mule Team, based on the name I had no idea what to expect.

From what Takashi had told me, they were the next buzz band, as they were doing more of an American garage rock sound.

It didn’t hit me at the time what he meant exactly, but when they hit the stage and the first riff came in, I was blown away.

where we proceeded to get drunker before most eclectic band on the card, not just a heading back to the hotel for the night. power pop band, not just a punk band, but The next show was at Basement Bar there’s a lot melody going on here. The first Three in Shimokitazawa, so it was back thing I could think was, “why weren’t they on the train headed to Tokyo. Let me on Slumberland Records yet? They would elaborate on this part of the city… It’s the eat this shit up.” Tons of chorus on the best part! It’s more of a laid back area, with guitars, early MBV influence going on for lots of vintage clothing shops, like punk sure, don’t know if they realised it or not, and 60s garage ones, record stores and but there were some riffs in there that were tons of cool restaurants. Also it’s the home ‘Paint a Rainbow’ esque. They even did a of Fifi from Teengenerate’s bar, Poor Cow, cover of Protex’s ‘Dont Ring Me Up’ and but we’ll get to that later. So after doing all nailed it. After that I bought a CD because the record shopping, it was time to head the vinyl was sold out already. They only to Three for the show. This was definitely pressed 500 copies.

the best show of this tour, no doubt. It They are the most original sounding band was Girl President, the Sleeping Aides and I have seen in Japan so far. They have been Razorblades – a band from where I live in described in reviews as ‘Soulful Garage Sapporo, and the Tweezers – a legendary Rock.’ It reminded me right away of how power pop band from the 90s consisting Natural Child sounded on their first 7-inch of an all-star line-up, featuring members of and EP, Bodyswitchers and Shame Walkin’, Teengenerate and Supersnazz. stuff. They were the tightest band of the We got to the show kinda late because night for sure, the riffs were chooglin’, and it was rush hour, so it took a while to get everyone was having a good time. By the there. Here is where I touch on another time they were two or three songs in the fascinating thing about shows in this place was packed. With 30 people in this country, they start early and on time! They place, there was no walking or breathing usually start around 5.30 – 6pm, so it’s room. It took 10-minutes to get a beer, so I usually over by 10.30 at the latest. I was made sure to order two at once. shocked! So, I caught maybe two or three Next up was Nobunny, and I knew songs of Girl President’s set. I liked it, but what to expect here. This set was all you their sound was so much softer than the would expect and more, with high notes rest of the bands on the bill. A little twee from Love Visions, First Blood, and in influence and maybe more suited for a Secret Songs. There was a short moment show with Peach Kelli Pop or Nikki and of technical issues, which even gave us the Corvettes, but still a solid opener. This a song from Raw Romance, an entirely place was much bigger than the last venue acoustic album. It’s the ‘Ride a White Swan’ and very well laid out. The stage was huge of his discography, and one of the very and the sound was much clearer. early Burger Records releases. It’s quite The Sleeping Aides and Razorblades a rare piece to find in the wild nowadays. were up next, who my friend, Takashi, Once this show was over, we ended up introduced them to me as fans of the heading to a 24-hour food and beer place, Nightmare Boyzzz. They were probably the Heatwave

Next up was Mule Team again, and they were even better than the night before. I had no idea that was possible. My friends in America have a name for the type of thing these guys are doing. We call it ‘Choogle Pop.’ Its heavy, it’s got balls, it kinda sorta sounds like Creedence Clearwater Revival.

Its punk, but at the same time it has a pop thing going on. They proceeded to do their thing and played the exact same set as the night before, but I didn’t care. It was so good. I kept thinking, “These dudes really have something special going on.” It’s something super original, and it’s not trying to be anything.

I met Yusuke from the Fadeaways, who turned out was another huge Boyzzz fan, and knew a lot of my friends back home.

This world is small and don’t let anyone tell you any different. Then it was time for the Tweezers, which everyone rushed to the stage for. So, they hit the stage, and Fifi being the front man, came out with a grand entrance, wearing some almost Hawaiian shirt, if I remember correctly. It was like major 80s John Cusack vibes. When they kicked in and two songs in hit the crowd with a Phil Seymour cover.

My jaw dropped. Me being a Twilley and Seymour nerd, this was the highlight of the night for me. The band hit all of the harmonising guitars and vocal queues perfectly, which I had never seen a band in the States dare to touch. We got too much respect for that shit – if it ain’t perfect we wont do it. But of course the Tweezers played it just as it sounds on the record.

When accompanied with the rest of the deep cuts from their 1997 album along with some singles, it seemed they stole the show, as the crowdsurfing began.

Everyone knew all the words and it brought out a mixed crowd, young and old. By the end of the Tweezers’ set, this place had to be at capacity. It was packed. There was no standing room, and once again it took me a solid 15-minutes to get beer.

It was time for round two for Nobunny.

This time they had so much more energy, and the crowd was moving from side to side. After about three songs shit had gotten so real. It was like being at home in the States, with everyone signing along to all the songs and it just felt good. I totally forgot I was in even in Japan for a little bit.

This set went on for much longer and the crowd got two encores! They just kept wanting more. After the show we headed to Poor Cow, a legendary bar/venue I’ve been wanting to go and see for years. Fifi has been running this place for a long time now, and it’s essentially the rock ‘n roll hub of Tokyo. Anyone who is a part of the scene in any shape, form or fashion ends up there at some point. In fact, Alice Bag was there less than 24-hours after I was.

So Atushi, a guy from Sapporo who runs a long running small label in Japan called Pop n Roll, walked with us to make sure we didn’t get lost on our way to Poor Cow. It’s a little bit hidden, it’s not really labelled, and it’s up a long flight of stairs. I was so excited walking up those steps for the first time. As I got closer to the door the old punk flyers started to emerge on the walls. I knew I was about to step foot into a legendary place. It was something like the equivalent of walking into the Masque in LA, which was an old DIY punk space inside an old porno theatre. It was torn down before I ever got to see it, and it crushed me when the news came out that it was gone.

So there we were, the Poor Cow. I opened the door and saw Fifi behind the bar serving drinks. I couldn’t help but bring a giant smile to my face. Tomoko from

The sound in this place was really good too, especially the PA and the way the room was laid out – it was more set up for recording, I think. What a better place to have a show, right? They were selling beer, but it wasn’t exactly cold, so we went to a nearby convenience store, and if you didn’t know, those kinds of shops in Japan can be the best if you are eating and drinking Its one of the biggest collections of power on the cheap! This was the first time I had pop, punk, garage and soul you will ever seen a decent craft beer selection in Japan. lay your hands on. There was so much Mule Team killed it again for the third time obscure, lesser-known stuff all across the in a row. I can’t stress enough how good board. We’re talking records that would these guys are! They have such a good probably have Discogs nerds drooling. thing going and I hope they push far with it.

It was a long night singing, dancing, and There are so many labels in the States that drinking cheap beer. Atushi put on a would sign them without even blinking.

Raspberries record, which shocked me At this point I was bummed I missed out because I hadn’t heard that band in many, on the limited cassette that was sold out many years. Then someone put on a CCR before I got to Tokyo. They were followed record, which happens to be my favourite… by a Portland band called the Divers, who So Poor Cow technically choogled for a played a very solid set, and then it was time few songs. for the Nobunny boys to come out and do The next show was at a space called Flat, it one more time. and it essentially was a practice/recording This set was their most memorable one space that had shows sometimes, where of the tour. Sammy set his cymbal on fire you rent out the gear there that was Jackie and the Cedrics style, and the band provided. This is a neat idea and I don’t proceeded to give their most explosive think too many places in the States do this, performance I had seen, in fact its one maybe in Europe? of the best Nobunny sets I’ve ever seen, This was a come down show of sorts, but hands down. That’s including five or six once again it was a full crowd by the time different line-ups on multiple occasions the first band started. I don’t remember over the span of five – six years. who opened this show. It was either Mule After the show we took to the streets Team or Your Pest Band. It was so good to see them again – the last time was at outside as the space closed up. Something the show I mentioned back in 2012, the worth mentioning here is that when you are legendary house show rager with the leaving, and this went for all the venues, mattress. Their sound had matured a bit the staff gives you a flyer for the next from the straightforward pop punk vibes one or two events happening there. Its they had three years ago and had taken on really efficient and a very good marketing strategy. Outside I signed a Nightmare more of a power pop feel.

Boyzzz record someone brought, which was very cool.

As the cops kept driving around we decided it was time to head to the izakaya for the final get together. More food, more beer, repeat. After everyone’s bellies were full, we realized it was a Sunday and we all had to work the following day. We said our goodbyes and headed our separate ways.

We walked with Takashi and the Nobunny boys back to the subway station, hugged it out real good and proceeded to take a cab back to Shinjuku. It was just a short threeday weekend for my wife and I. Back to the restaurant world for us!

Tweezers and Supersnazz was there too.

So for those of you who don’t know, here’s how this works. There is no cover charge to get in. The beers/well drinks are cheap, there is a snack menu, and here is the best part, his record collection is pretty much open game to listen to! There is a turntable and quite a large CD collection too.

© Justin Crumpton

I had to wait a bit for the next show that came around, but it was well worth it. The next show on the horizon was Guitar Wolf, 25

the band that had pretty much been the reason why I wanted to play rock ‘n roll in the first place. They were so influential on me as a teenager. When I saw them for the first time in 2005 it was a reality check for me, and showed me what direction I wanted to go as a musician. They have been together since the early 90s and were the first ever Goner Records release. Yes, that’s right Goner #1 is the first Guitar Wolf LP! That’s how this important this band is.

What made it even more amazing for me is that they were playing in Sapporo, which is basically in my backyard.

I was itching to see how the local scene was, compared to Tokyo. Tokyo’s scene is very much all over the place, but since Hokkaido is a separate island from the mainland, that had to play a vital role in the way the scene developed. The name of the venue was Bessie Hall. Based on the outside of the place, I had no idea what to think. It looked like a pool hall or maybe a shitty dive bar. After all, getting the tickets at a Tower Records, of all places, was even more confusing. I have to admit, I was a bit nervous heading inside not knowing what to expect and not knowing anyone. The bass player from the Sleeping Aides and Razorblades said she worked there, so that was a little bit of relief. The first time is always awkward.

This place had a deal like most venues in Japan do. Tickets are sold in advance or day of, and each ticket comes with a free beer, which is a very good business.

Venues in America should take notice and do something like this to get more people in the doors. Those PBR’s are cheap and I know venues make a shit ton on them.

At one point the tall cans were wholesale price at 35 cents each. At five dollars a beer, just think about it. Giving one free beer away isn’t gonna kill you. After the first few beers kicked in the second band was setting up. Unfortunately the first band had already played. These early show times are a blessing and a curse, I suppose.

The second band to play was the support slot for Guitar Wolf on the tour – the 50 Kaitenz, a punk band that had a very wacky stage presence. Same hair, same outfits, and their songs seem to crossover into different genres. It was like the Aquabats or something, but better and heavier. They were extremely talented and it was one of the tightest sets I’ve ever seen any band perform. After the wacky ride of head bobbing and hair flipping was over it was finally time for the main event. I had been Heatwave

crowd of chanting people. I went into this show thinking, “this is gonna be great, but Seiji will never pick me.”

© Justin Crumpton

© Andy Junk

This was my third time seeing them, and it was the charm, low and behold halfway into the song, he reaches his hand out to me. At first I didn’t move. I thought it was for someone else, maybe one of girls in front of me. He slapped their hands out of the way, smiled at me and said ‘come!’

He pulled me onto the stage and there was a gap between the stage and floor, so I literally did a flip to get to the stage.

He puts the guitar on back, motions to the crowd that the ceremony is about to begin.

Slowly he places the pick into my hand and brings my hands closer and closer to the strings, and then instructs me into my ear, “Just give me rock ‘n roll.” I knew what to do here. On the count of three I was to do a big jump into the air and strike down on a chord. I had done this so many times with Nightmare Boyzzz – I used to do it on the pause part of the intro to ‘Bender.’ The idea came from watching Guitar Wolf shows and seeing how he was teaching them.

So the one, two, three came and I jumped as high as I could go and came down and waiting since Goner Fest 7 for this. You could almost touch the energy in the room. struck the chord as hard as possible. The There is something mystical about how this crowd raged and he asked me to do it band operates, and the ”jet rock ‘n roll” is a three or four more times. Then he stage dived into the crowd and things just went force that no one can quite explain. nuts. There I jammed with the band for a The band came out as the Ramones good minute and a half or so, going up to started playing and they are wearing the drum riser with Toru, and then back to these very realistic dinosaur masks – it’s back with the bass player U.G. This was a gimmick they are taking on for the new just kinda insane. 19-year-old me could record, T-Rex from a Tiny Space Yojouhan. have never done this.

They hit the stage and from the first strike Then Seiji came back to the stage, threw of the guitars it was loud. Seiji uses a Marshall JCM 800 head and cab, every me down to the ground and took the knob was cranked up to 10, and in addition guitar off me, signalling that the ritual was to that it’s miked, so it’s insanely fucking complete. I had just received my rock ‘n loud. A wall of sound would be the exact roll license! Then I proceeded to stage dive description for it. They took off the masks into the crowd and was caught gracefully and the traditional theme kicked in, which I before being gently lowered to the ground. think is from an old monster movie from the It all happened so fast! The rest of set I 50s or 60s, and then its go time. They were was just glowing. The hits I remembered playing all the hits, stuff from Jet Generation just kept coming and then it was done, and Planet of the Wolves, as well as some but no. Guitar Wolf doesn’t just finish that way. They came back for not two, but three new material, which was mind-blowing. encores!! The last of the three being Seiji’s They always do a cover of ‘Kick Out the cover of ‘I love you OK,’ by 70s Japanese Jams’ by MC5 as well, and by a longpop star, Eikichi Yazawa. standing tradition halfway through the After every set, just when you think its song they will pick someone from the crowd to come on stage with them. This over he comes back out and does one is a very special ceremony, in which Seiji more song, this is also a tradition. After is giving you the gift of rock ‘n roll, and it’s waiting in line for a while and finally getting essentially a one on one lesson with him on a hold of some merch, I wanted to go how to rock. Bonus is that it’s in front of a backstage and thank them for having me

SLOVENLY’S TOP TEN RECORDS Pete Slovenly

1. Total Control, Henge Beat LP – This is a massively interesting record from these Aussies, varied and surprising, goosebumps galore.

2. Demon’s Claws, the Defrosting of Walt Disney LP – Jeff Clarke is one of the most underrated musicians of our day.

Hellshovel’s album would be on this list as well if it weren’t on Slovenly!

3. The Spits, V LP– The Spits never disappoint. Even if I liked IV more than V. Actually I can’t decide which I like more…

IV or II.

© Justin Crumpton

on stage. Towards the end I finally got the courage to just go back there, and it was perfectly alright. We were invited to come have dinner with them at a local izakaya in Sususkino after they finished packing up! Now that was a shock. So we followed them. It was a rather large group of people, and we ended getting very nice seats. The 50 Kaitenz guys were there, some other friends of the band and also a girl who works at Northwave, Sapporo’s underground music radio station.

After we were all seated and the beer starting flowing, which was unlimited for two hours by the way, Seiji gave opening and closing speeches standing on the seat, both ending with “ROCK ‘N ROLL!” and a big Kanpai! We talked about the old tours they had done in America in the past, when the Oblivians came to Japan in the 90s, old TV shows, dating, ect. It was just like friends hanging out doing whatever. I felt at home. I didn’t want to leave, but knew it would be over eventually. The dinner eventually came to a close and we all left for the outside to say our goodbyes. Guitar Wolf is going to the states at the end of summer and I highly recommend anyone who hasn’t seen them to please go. When you see them live it isn’t just a rock ‘n roll show, it is an experience. Nothing else can really describe it. You just have to witness it and feel it.

The scene here is powerful. It has a vibe that is unlike anywhere else in the world. If you ever find yourself in Japan for a while, do some research and check out a few rock ‘n roll shows. It will leave you a changed person forever. There is absolutely nothing like it. Nothing else on this earth compares.

Just try it. You will understand.

4. Shannon and the Clams LP, Sleep Talk – Shannon, Cody and Ian are definitely some of the most interesting and talented people I’ve met or had the pleasure of touring with. Here’s a record that’s all over the place stylistically. It’s loads of fun.

5. Death, For All the World to See LP– Not really of the last five years, more like rediscovered in the last five years, but, what the fuck. The record is amazing, as is the story behind it, and the band that lives on today.

1. Wireheads the Late, Great Wireheads LP – Brilliant and ragged Aussie bumpkin rock... with flute!

Bazooka Joe

2. Gary Wrong Group, Knights of Misery 12-inch – Gary can do no wrong. This is extra negative Alabama down-tempo psych-punk.

3) UV Glaze, Environment 7-inch – This one’s from Germany. It’s Killer sludge punk at 33 and insane crust punk at 45.

Not sure if they did that intentionally, but it works! It’s two totally different records in one.

4) Aniaetleprogrammeur, Ich Bin Mude 7-inch – This one’s violent German electro-punk.

5) New Coke, He Got Stabbed In the Throat 7-inch - Dark, yet catchy as hell.

I hate pop punk more than anything, but this is unique. New Coke should have been huge.

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TANNER ROZUNKO

Bad Sports Laurie Jane

S

ince forming in 2007, Bad Sports has been making catchy as hell 70s pop-punk inspired music that mixes rock ‘n roll swagger with hook-laden harmonies. While the Denton, Texas trio consisting of Orville Neeley on guitar and vocals, Gregory Rutherford on drums, and TV’s Daniel on bass and vocals, also play in other notable bands like OBN III’s, Mind Spiders, High Tension Wires, and several others, it has never diminished their ability to remain true to Bad Sports’ distinctive sound.

The band recently wrapped up a US tour playing with, and in, Radioactivity. They will be kicking off a similar tour across Europe in August. If that wasn’t enough to keep them busy, they’ve also got a new seven-song EP, Living With Secrets, coming out on Dirtnap Records on August 12.

We had a chance to chat with Orville ahead of this eventful period to find out more about the tour, record and how they’ve managed to maintain Bad Sports’ raw energy over the years.

Heatwave: With all of the other bands you guys are in, or Heatwave: You’re touring this summer with Radioactivity. have been in, what made you want to start Bad Sports?

How did the recent US dates go?

Orville: I can’t speak for Greg and Daniel on this, but Orville: It was great, albeit short. Short and sweet [with] I imagine I’m not far off. At the time I wanted to do a enthusiastic audiences and well attended shows. We played quite new band that was different from my previous ones. well, usually.

Plus, another band of mine had recently dissolved, and another I learned about 15 songs on bass for Radioactivity only a couple was on the way out. I have almost always played in multiple weeks before we left. So, with that, I was the weakest link, but I groups, so starting something new seemed natural. can’t say if anyone else noticed much when I flubbed.

Heatwave: Is it difficult to find time for Bad Sports, or to Heatwave: What’s touring like when members are in both of transition into playing in the band from your other music the bands that are headlining? projects?

Orville: It’s great. We set up and tear down only once per show.

Orville: When our other bands are busy, Bad Sports We insist on playing back to back for this reason. Bad Sports can take a backseat. If there’s more going on with other plays our set and within a few minutes, usually, we’re all on projects, they usually take precedence and vice versa. stage again only with Jeff in the middle and Daniel and I swap We’ve played together long enough that it doesn’t take much to instruments. We don’t actually swap the same instruments get back into the swing of things. Then again, I’m probably the though. I bring my own bass. He brings his own guitar. worst about it. I forget old songs if we haven’t played in awhile.

That will change for our European tour, I think. Bringing extra Heatwave: How do you think Bad Sports has changed since guitars is expensive. Some people have commented that it must be exhausting pulling double duty every night. Especially Greg, you first formed back in 2007? he’s doing the most physical activity up there. I think we’re all fine Orville: I think our songs are better now – personal with it. I prefer playing twice to only once a night in this case. preference anyway. Perhaps we’re a bit more grown up.

Subject matter of songs has changed to some extent. Heatwave: I think you were last over here in 2013. Any there Perhaps the way we approach some topics is a bit wiser. any places you’re looking forward to playing in Europe this summer?

We’re certainly less boastful. That goes for live and on record. We are still, however, the undisputed ‘Greatest Band on Earth’... That Orville: That’s right, the oddly cold spring of 2013. Looking forward to all of it, really. Even places we’ve been before. Even is until someone disputes this fact. if last time was weird. Definitely looking forward to seeing and Heatwave

playing Prague and Brno. Belgium and Netherlands, all the German dates, Paris…

Playing the first show of the tour in Valence, France. Never been there. Last show in Spain at a festival. Only one Spanish date, shame. No UK either! Sorry, mates.

Heatwave: I recently listened to the preview track of your upcoming 12-inch release on Dirtnap Records ‘Living with Secrets.’ I loved that it sounded exactly like what you expect a Bad Sports song to sound like. How do you stay true to the Bad Sports sound?

Orville: I don’t know how, really. Since that’s one of my songs…

I just get ideas sometimes that I say to myself “that’s a Bad Sports song” or “that could be a Bad Sports song.” When I’m not busy talking to myself I’ll work it out and write it down.

Daniel and I have been writing together more lately too and I like what we come up with. No matter how our collective musical influences change, I think it’s important to remain capable of making the most of simplicity. We’ve played with more complicated arrangements from time to time, but that won’t beat a simple and catchy tune. Not usually.

Heatwave: Do you all write songs together as a band?

Orville: Daniel and I write a lot of our songs separately.

Sometimes we help each other to finish our songs, other times they’ll be complete before the other guys hear them and it’s not unheard of for Daniel and I to come up with an idea together.

The band started based on a couple demos I recorded by myself and brought to Daniel. That still happens. In those cases, the song is usually complete if only presented roughly. Greg has occasionally helped with arrangement or we were at practice together when a new one dawned on us.

Heatwave: What else can we expect from the upcoming record?

Orville: A damn near flawless record, that’s what. An even better record will follow that.

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Sheer Mag: Trio of Aces Claudia Sinner

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fter a very successful European tour in 2015, Sheer Mag has crossed the Atlantic again to present their new EP III. The Philly punks can’t stop fighting, as they produce howling lyrics about gentrification or the greed of capitalism, with riffs you may have heard before, but never like this...

Tina Halladay’s edgy and powerful voice completes the magic, converting Sheer Mag into an essential and very unique band.

Despite the desperation of the big record labels to get a deal with them, the quintet keep the DIY ethos that from the beginning characterised them. They self pressed their fist EP I and Katorga Works and Static Shock Records, two independent record labels, have released their 7-inches, II and III. They are currently working on a compilation LP of their first three 7-inches, and an album of their new material should be out in 2017.

Heatwave: You guys are all from Philly, right? How did you meet and how was Sheer Mag formed?

Sheer Mag: Sheer Mag has been based out of Philadelphia since we formed in 2013, but none of us are from here properly. Hart and Kyle are from Syracuse, New York, Ian is from Glen Rock, New Jersey, Tina is from Mattituck, a small fishing town on the North Fork of Long Island in New York, and Matt is from Vienna, Virginia. Everyone except Ian attended the State University of New York at Purchase.

I moved to Philadelphia first, and Hart moved next. Eventually, Hart, Kyle, Matt, and Tina all moved into a seven bedroom house in south Philly together and the rest is history. After that Ian joined us a year later.

Heatwave: Garage rock, Thin Lizzy-punk, anarchic powerpop… I’ve read lots of labels about your music, how would you describe the style of Sheer Mag? Sheer Mag: I would describe it as rock ’n roll, first and foremost.

We’re also pretty involved in the punk scene in Philadelphia and the US. Though our music doesn’t sound like punk in the ‘traditional’ sense, we do consider ourselves a punk band, maybe in the vein of the Clash’s London Calling era, when they were experimenting more with different genres and song structures.

In terms of songwriting, I think we have a wide variety of influences, from Fleetwood Mac to Earth, Wind, and Fire, or Nina Simone and Steeleye Span, just to name some really random points of reference.

Heatwave: ‘Fan the Flames’ calls to fight against gentrification, ‘Button Up’ could be read as a feminist claim, ‘Can’t Stop Fighting’ denounces the crimes against women in Ciudad Juarez… Is Sheer Mag a political band in any way?

Sheer Mag: Sheer Mag is a political band. We feel it’s important to address the inequality, ignorance and fear that defines contemporary life in America and abroad for so many people.

Heatwave: What’s the inspiration behind your lyrics?

Sheer Mag: The misunderstanding and the cruelty of discrimination and racism are themes of some new songs off the forthcoming LP. Tina’s independence and agency in the face of a misogynistic Heatwave

© Ika Lesniak

society are also important points for us to represent in our music.

The greed of capitalism and the cronyism of a political system based on money and vested interests are also things we think are imperative to address.

Heatwave: Is writing lyrics a collaborative process in the band?

Sheer Mag: When a new song is being written Matt and Tina will sit down and discuss what themes, motifs and perspective will be most effective in getting our point across, and once there is a basic framework for the song Matt will write the majority of the lyrics. Hart also contributes some lines as well.

Heatwave: Despite having become one of the biggest bands in the current indie scene, you are characterized by your DIY ethos. What kind of things make Sheer Mag remain as a DIY band?

Sheer Mag: We have a booking agent in the US, but we have no manager, or PR team, or handler or anything. We pressed our first 7-inch ourselves, and the second and third 7-inches were split with Katorga Works and Static Shock, respectively.

We try our hardest to remain independent of the music industry in general, but it’s a constant negotiation. None of us has been in a band that’s experienced this much success, and we’re learning as we go along.

Heatwave: The European tour in 2015 was sick, with a heavy schedule. It was your first time touring in Europe. What

were the highlights of the tour? Any good anecdotes? I’ve heard you raised the roof in Mallorca!

Sheer Mag: Our first European tour was really extensive and pretty exhausting. We played 54 shows over the course of two months and had something like only two or three days off.

Istanbul was definitely a highlight, even though we spent about 12 hours in the city before we had to leave once again, and head back west. Copenhagen was lovely, as was Berlin and Barcelona.

But Mallorca was probably my favourite day and night and day of tour. We played with the mighty Orden Mundial, and hung out with them and their friends all night. A truly special time.

Heatwave: How do you feel the audience is here in Europe?

Sheer Mag: I’m always surprised at how receptive the crowd in Europe is to Sheer Mag. It’s really mind blowing that people are familiar enough with the records to know the lyrics and sing along to the songs.

In general, I’d say the crowds aren’t that much different from how they are in the US, except maybe they dance a little bit less and they want us to play like half an hour longer.

Heatwave: What are your favourite newer and currently existing bands that you feel like are worth listening to?

Sheer Mag: We’re big fans of Primetime, who are based out of London, Rakta from Brazil, Dirty Fences from New York City, Diät from Berlin, Fumigados, Vexx, Strutter, Glue, Laffing Gas, Big Huge, Nancy, Efialtis, Barbed Wire and Machine Gun. Heatwave: Top five of songs you are obsessed at the moment?

Sheer Mag: ‘It’s Not My Place,’ by the Ramones.

‘Aggravation Place,’ by Jook.

‘Hit ‘Em Up Style (Oops),’ by Blu Cantrell.

‘Ixion,’ by Blyth Power.

‘You All Everybody,’ by Driveshaft.

Heatwave: Do you have any plans for a new album release?

Sheer Mag: Right now, Sheer Mag is working on putting together a compilation LP of the first three 7-inches. That should be out in the fall/winter of this year. We’re also currently in the process of writing and recording an album of new material, probably between eight to 12 tracks, that should be out in 2017.

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became clear this was all part It’s so much more than a of projecting Shep’s life onto music documentary. It is a screen in the right way. reminder that karma is most He began his career as a certainly a thing. Shep became manager in the music business. a Buddhist, and eventually Because he is such a nice guy, friends with the Dali Lama – but seriously – so nice, good this became a major part of things kind of just happened to his working life. The movie is him. He happened upon Jimi a reminder that Alice Cooper Hendrix in a hotel one night is RAD and makes a really when he was looking for a outstanding friend. It gives manager. Seriously. He literally insight into how insane and fast created the celebrity chef. He paced the music industry was, coaxed Alice Cooper, who is before blasting yourself out on co-narrator of the film because social media was a thing, and they have been friends for so people worked hard to do it. long, into becoming the big shock rocker he was in the 70s.

He has done a ton with his life, but towards the end it delves a bit deeper beyond his career and gets a little melancholy.

This got the biggest cry out of me, but his kindness made me cry throughout.

Popcorn Chokers Frieda Strachan

Supermensch: The Legend of Shep Gordon

I

t’s no secret among my friends that I cry over EVERYTHING. No secret among workmates, family, acquaintances, anyone I don’t know who follows me on social media, etc… If it’s sad, cute, wonderful, anger-inducing, or involves any sort of underdog or kind person, I’ll cry.

Supermensch, oh God, Supermensch… it was the latter.

Basically, Mike Myers – yes, the actual Mike Myers, decided to make this film just because music mogul, Shep Gordon, is clearly the kindest man alive.

Cooper, Willie Nelson, Steven Shep Gordon is Jewish, and Tyler, and Mick Fleetwood, to ‘mensch’ in Yiddish translates name a few of those who spoke to mean a noble person. of their love for Gordon – I have Supermensch literally means to agree with them all. he is a huge step above being a As Myers’ first documentary, noble person – he is the greatest it is surprisingly good. I had human being alive. After watched the trailer online watching the documentary, and it came across as brash which included appearances and haphazard, but it quickly from beloved characters Alice Heatwave

Yes, Shep is a great guy, but it was all of the anecdotes from people like Alice Cooper and Steven Tyler, who provided the great stories of the film, as they looked back and remembered a lifetime of being friends with Shep. They discuss the time Alice Cooper and his band came to London – they bought a big billboard and put Alice on it half naked, immediately selling out an arena show. They speak about Shep’s love of women and the wild times. The Jimi Hendrix/Janis Joplin story just seems insane. There were all these household names in one place and a giant Jewish dreamboat with a big smile and glasses appeared and offered to be their manager, despite having no experience.

It’s nostalgic, and even though I wasn’t even a consideration at the time, it makes me long for a time when ‘music was music.’ When musicians were talented and it was okay to be unattractive. When Alice Cooper dressed in a clear plastic suit was considered shocking, and when hard working people like Shep – who had drive, motivation and new ideas, were the ones to succeed in the industry. Everything that seemed brash and horrible in the trailer were the things that made this film great – the quick zooms into photos pointing out all of Shep’s celebrity friends, and him always there with a consistent beaming smile on show, and his arms around his friends, as well as the hints of psychedelia throughout, and the shots of laughter.

There is no way of watching this film without falling in love with Shep Gordon, and even more in love with Alice Cooper and, uh… Michael Douglas. I’m sure that a lot of people could get through it without shedding a tear, though… Just not me.

The Decline of Western Civilization (Parts I - III)

T

HROWBACK. Okay, so the first film in this trilogy of subculture documentaries was filmed in 1980 and the final part in 1998. That is almost a 20-year gap between them, and almost a 40-year gap since trilogy’s inception.

In each film director, Penelope Spheeris, tries to get to grips with the latest music craze – punk, metal and ‘gutter punk,’ respectively. Don Bolles, drummer of legendary punk band the Germs, posted a photo of one of the film’s original screening posters from LA and it sparked my interest to watch it again. It had been so long that I forgotten I had seen it, but I had never bothered with the other two parts. So, this time I spent three nights in a row watching all of them. Really, that isn’t the way to do it. You see how everything is a fad, and how everything cycles back round again, but then you also realise that the 80s were awesome for personalities and the ACTUAL punk idealoges of ‘I don’t give a fuck,’ etc.

Which is an annoying eye opener when the other two parts are actually directly documenting punk...

Part I focuses on the LA punk scene of the late 80s. Led by the Germs’ late frontman, Darby Crash, the scene is a mess of blood, booze and drugs. We see Black Flag being coy about the number of women that visit their dirty and overoccupied squat room, where a ton of other bands choose to reside and practice too.

Crash himself gloats about how he found a dead body and how amusing it was, and of course, Keith Morris appears at one point to do his bit. It’s kind of interesting, but at the same time, watching it now makes everyone seem like a total dickhead.

That original punk desire to be mean, and cold and uncaring kind of overshadows the music. Though that could be down to the fact that the live footage is focusing on the performance rather than ensuring sound The girls look amazing, the guys look is recorded well. There is a lot of flailing around, and the shows look mental. You amazing, the music is, let’s face it, totally do wish you were there, but I didn’t feel like rad, and everything they say is hilarious.

Sex, boobs, chauvinism, alcohol, drugs, ‘I must hear this band’ after watching it. hair – it’s everything I love to hate. And Part II – now this is where the fun begins, all the bands – Kiss, Motley Crü, Ozzy and is without a doubt the crowning glory Osbourne, Motorhead and Megadeath, of the three films. This time round Spheeris manage to bring something to the table. has made a real LA documentary. The Humour, their take on fame, their take on people in the metal scene are so cocksure and egotistical, whether famous or excess – it is a really interesting part of the otherwise, that you are hooked on them trio of films, and sums up the global image and their delusions of grandeur and talent. of LA, even today. There are so many iconic

images, so many soundbites that you can hook onto. My favourite being the inclusion of Chris Holmes, of W.A.S.P., swigging Jack Daniels from a bottle while reclining in a pool as his mother watched over him.

His unhappiness and fake joy perfectly encapsulates everything that was wrong with the scene. It delves into so many aspects of it, the music of course, but also how the promoters handle things, how girls played a huge part in the scene, albeit in a really derogatory way, and how possessions, money and excess were what it was all centered around. The film has been credited with ending the whole metal scene’s musical reign, but it certainly ended it on a high.

In my opinion, Part III was not much of a documentary to close on. Focusing on LA again, it is full of dickhead youths hassling strangers, bragging about giving each other cigarette burns, downing drinks.

Maybe it’s the age I’m at, but I found it totally boring. I know they were young at the time, but there was nothing in them that I could relate to. Made in 1998, it kind of felt like a film about young people using the punk movement as an excuse to be assholes. Don’t get me wrong, I get it. It just doesn’t make for good watching… It might if you were part of that whole late90s scene though, I dunno… I was born in a fishing village.

There were no notable scenes, no new message for the youth of the time. Just get fucked up and party, even if you are homeless and have no family, stick it to the man and get fucked. I couldn’t get into any of the featured bands, though I’ll admit there would have been a time in my life when I could have been.

It was the parts focusing on the nonscene lives of the youthful protagonists, which were the interesting parts of the film, not the music, and thank god Spheeris looked to other parts of the scene. Their homelessness, their lack of family, police officers, people on disability – this showed why they were reverting back to a punk idea from 20 years before more than the bands’ way of explaining themselves did.

I don’t know – after all the glam rock and the posturing in Part II, I just didn’t want to fuck with badly behaved teenagers, even if their mindlessness and lack of direction was called for.

Parts I and II – I fuck with that.

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Amsterdam Scene Report Linsey McFadden, Marko Petrovic and Neus Ruiz

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msterdam is a European capital city with a population of only about 840,000 people. Thanks to its geographical setting and historically progressive vibe, it’s got an exponentially interesting story.

The same is true of it’s rock ‘n roll scene. Like the rest of Holland, the rock ‘n roll revolution started with Indo-rock in the 50s. Indorock, a wild fusion of Indonesian Kroncong and American rock ‘n roll was this crazy genre played by Indonesian repatriates who arrived in Holland in that period. They were already influenced by what they heard on American AFN radio stations in South East Asia.

The Dutch kids that got into that music were called ‘de Nozems,’ a local variety of Teddy Boys. Much like in the rest of the world, everything changed around 1963 – 64, with the arrival of the British Invasion. Around that same period de Nozems were driven into the past by ‘de Provos,’ a word alluding to their agenda of provoking the status quo. Influenced by the beatniks, the anti-war movement, anarchism, situationalism, and a bunch of other ‘isms,’ and spiritual various learning’s, they went on to radically alter the cultural and political arena of their time.

Musically, the Dutch answer to the British Invasion was Nederbiet and the genre’s biggest gift to the world were the Outsiders from Amsterdam, a band still loved by 60s aficionados around the globe.

As the provo movement became criminalized by the police in the late 60s, it disbanded into a few less influential anarchist groups like ‘de kabouters,’ or as often is the case, it’s members were sucked into the political establishment they were fighting against.

Late 60s, the flowers are a plenty and the psychedelic drugs are starting to kick in, so in come the hippies, of course. Music gets muddy and pretentious, but out on the streets it gets interesting. A wave of student occupations rocks the city and the squatting of empty houses kicks into gear. Although a phenomena since 1964, it really exploded in 1968 as a reaction to the city council’s decision to demolish a housing estate in favour of building a subway across the city centre.

The late 70s brought punk rock and a war on the streets as the squatters clashed with the police on a scale never before seen in Amsterdam. The best known bands of that period were the Ex, the Nitwitz, later known as BGK, and Panic.

The squats and DIY punk venues of the past are all but gone now, with a few shadows lingering around as reminders – one of the most famous clubs in town, Paradiso, started life as a squat in the 60s.

Much of Amsterdam’s modern scene seems to have been born out of a now closed venue – De Diepte. It was the size of a living room, and had no windows, but garage, rock ‘n roll and punk bands from around the world drifted to it. Unfortunately, the venue didn’t suit the city council’s idea of what Amsterdam should be.

Heatwave

“The place was totally illegal, with no license for live music and no fixed closing hours, so the people from the city council got a hard on and closed it down,” said Bone, singer and guitarist for Amsterdam band, the Anomalys. “It was just around the corner from Dam Square, and it didn’t fit their view of ‘tourist friendly’ Amsterdam.”

If you thought the closing of De Diepte meant the end for Amsterdam’s underground punk and rock scene, don’t worry, there’s a new bar and bistro in town.

After the closing of De Diepte Amsterdam’s rock ‘n roll centre relocated to Pacific Parc, where it remains today. Pacific Parc has properly welcomed in the old De Diepte crowd, with many of the former DJ’s from De Diepte now work behind the bar or spinning records at Pacific Parc.

Bone joined his first band at age 16, around 1989, and has been around the Amsterdam scene long enough now to have lived through many of its changes.

Bone’s bandmate, Gillian Profundo, also got into garage and rock ‘n roll because of his time spent at De Diepte. Although Gillian had been involved in hardcore and punk rock since the mid 90s, he said it was his experiences at De Diepte that seduced © Rob Rouleaux him with sleazy rock ‘n roll.

The man that opened Pacific Parc, Martijin Kruyver has been around the Amsterdam scene since the late 70s. He heard the Sex Pistols in 1978 and cut his hair and became a punk the next day.

“As I was really young, originally I only went to live shows, but later on also to bars like No Name, Punk Panther and a bunch But before that, Gillian fell in love with problems battling gentrification alongside of squats,” he said. punk rock in the best possible way, by the city’s council, and the modern scourge When Martijin joined the Amsterdam going to live shows. of punk rock – hipsters. punk scene it was exploding with bands “Shit hit the fan when two Russian immigrants joined my class. They told me they were playing in a hardcore band,” he said. “I was into metal and grunge and had no idea, but when I saw the guy I cheated off in math class jumping from the stage, crowdsurfing the audience, playing his bass guitar, I realised, ‘this is it!’”

After that, Gillian started playing in a streetpunk band and regularly attending shows in the city’s squats.

“90 percent of the squats have disappeared since because of gentrification,” Gillian said. “The garage and rock ‘n roll scene was small, but active with some cool local bands and a lot of international bands playing here on tour.

The scene’s were more divided back then, and out of necessity it’s all much closer together nowadays, because on a whole, the underground rock ‘n roll scene has become much smaller.”

The squats that highlighted much of Amsterdam’s early punk scene and DIY ethos are all but gone now.

According to Bone, one of the only places left from his era of squatting is OCCII. The club is now legal, but has maintained its DIY-punk roots.

“When I got out of school, I started squatting,” Bone said. “The squat scene in the 90s was still huge – there were gigs and parties all the time.”

As is often the problem in most major cities, the punk scene has faced a lot of

“I guess the Internet, hipsters and gentrification have changed everything, which includes the world of underground rock ‘n roll,” Gillian said. “I think Amsterdam is trying to be like Berlin, but being like Berlin isn’t just vegan-Frappuccino shops and gluten-free yoga classes. It’s also a place where a lot of music venues and bars still have the freedom to do what they want until what time they please… This part of © Martijin Kruyver trying to be like Berlin is sadly, not included by the policy creators in Amsterdam.” like Jesus and the Gospelfuckers and Ivy On top of the squats and clubs boarding Green. A year after he joined the scene, up their doors, much of the traditionally when he was only 13-years-old, he started low-cost housing has fallen prey to a band himself, Neo Punkz. In 1980 the band released a their 7-inch, Fascist gentrification, as well.

Fuckerz. The album is currently selling for “Funny this is that the now so highly more than 600 euros on Discogs. sought after houseboats were actually the “As for the scene nowadays, it’s like we’re only places where people could live in the living on a different planet,” Martijin said. city centre,” Bone said. “Started out of “On the other hand, there’s a bunch of necessity and got hip along the way.” good bands these days, as everybody can Bone and Gillian’s band, the Anomalys, play guitar.” used to play every week in the city when Although everyone interviewed had high they first started. Now they primarily play shows abroad, doing roughly three shows praise for their current rock ‘n roll centre, a year at home. On the plus side, you can Pacific Parc, they mention a lack of young always find music in Amsterdam if you people and people attending shows. know where to look.

“I’m still hoping for kids to start some Aside from the Anomalys, Bone good 77-style punk or rock ‘n roll bands in recommends checking out Phantom Four, Amsterdam,” Gillian said. “Pacific Parc is a zZz, and local artist, Kiki’s conceptual rock ‘n roll high school of sorts, educating bands. Her current project is called Giletjes, kids in the stuff, but I’m still waiting… named after the Dutch slang word for I guess there’s more bands than ever, sleeveless vests. Gillian seconds Phantom problem is most of them are shit and don’t have any direction.”

Four and also recommends T-99.

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Amsterdam show promoter and owner of Black Rice Booking, Teun Heijmans, hopes to see the scene in Amsterdam get what it needs to expand.

He believes musicians in Amsterdam need access to a good, affordable 24-hour rehearsal space in order to move forward. He also agrees with Gillian – Amsterdam needs more kids.

“All those new students coming next September need to get a proper introduction to the Amsterdam music scene,” Teun said. “I think there is a lot to gain if we, together, actively dig into that.”

Natasja Alers, promoter for TrishTrashBookings and organiser for Grauzone Festival, said the music Amsterdam scene was alive and exciting when she first moved there from the Hague six or seven years ago.

“Lately, I have the feeling that people go less to live shows and the scene became much smaller,” she said. “Maybe everyone is getting a bit older, I don’t know, but going to clubs and electronic music seems more common than before.

Also there seem to be less punk shows than before.”

Natasja said there’s still a great deal of indie bands in the city, but they don’t suit her tastes.

She feels a bit nostalgic for the early years, but said things in Amsterdam aren’t so bad when it comes down to it.

“I prefer something pure, dirty and sweaty, something intense and wild,” Natasja said.

“Somehow, I miss it a bit, but © Giorgos Katapodis I can’t complain if I compare it to other cities like the Hague, there are hardly cool shows yuppies and bring back all the there.” passionate kids who really feel Natasja’s suggestions for it and are into music,” she said. improving the scene are quite “Also, get rid of the guestlist in line with everyone else’s – mentality. There is nothing support your scene, so it can wrong with supporting bands.” flourish.

While the future of the “Get rid of the hipsters and Amsterdam scene is still Heatwave

undetermined, it has a core group of dedicated punks and rockers working hard to keep the scene they love alive. If you’re a young would be rocker nervous about starting a band in Amsterdam, it seems like now’s the time to make your move!

“In rock ‘n roll, it’s very simple, don’t try to re-invent the wheel,” Gillian said. “Stay close to the source and all you need is three chords. Put your balls and energy into it and bang, magic happens!”