Issue 23 - April 2014
Johny Thunders - July 15, 1952 - April 23, 1991
the road to immortality
Sonic Shocks - Issue 23
April 2014
Welcome back to Sonic Shocks with a very special issue: 23 years ago on 23rd April we lost an iconic man and musician known to the world as Johnny Thunders. We remember him and celebrate his life with author Nina Antonia, who wrote classic biography ‘Johnny Thunders: In Cold Blood’ 27 years ago. The book is still in print to this day and about to be turned into a movie. Paul Roundhill takes us back to to the Brighton music and art scene in the late 70s with a personal account of facts, vibes and venues in Rock’n’Roll Museum; expect more of his exclusive vintage shots for a nostalgic walk down memory lane. Ipecac gives us another Isis re-master: this time it’s the legendary Panopticon. We talk about it with Aaron Harris and get an update about his latest project Palms with Chino Moreno while we’re there. Don’t worry, as usual we’re also here to introduce you to some fine new bands we’re excited about – Life and LazyTalk to name a couple – and hear from some more established acts like Chiodos, Malefice, Avatar, Falling Red and Crippled Black Phoenix. Finally, you’ll find our regular spaces with Sophia and her Burlesque extravaganza, Eddi and his TBFM guests – the Vibrators join in this month – and our usual movies, albums, EPs and live reviews. Thanks to everyone who helped make this happen again, a warm welcome to our new contributors and a very special thanks to the usual suspects – you know who you are!
Cristina
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P 3: johnny thunders special Interview by Cristina Massei P. 6: ISIS/PALMS: AARON HARRIS Interview by John Morgan & C. Massei P. 8: THE CORRESPONDENTS Interview by Cristina Massei P. 10: MALEFICE Interview by Matt Dawson P. 12: ROCK’N’ROLL MUSEUM Article and photos by Paul Roundhill P. 14: CHIODOS Interview and photos by Matthew Higgs P. 15: BLAZE BAYLEY Interview by Sophia Disgrace P. 16: LAZY TALK Interview by Cristina Massei P. 17: THE GOLDEN AGE OF BURLESQUE By Sophia Disgrace P. 18: PILGRIM Interview by Matt Dawson P. 20: TBFM - THE VIBRATORS SPECIAL by The Reverend Eddi - photo C. Massei P. 22: CRIPPLED BLACK PHOENIX Interview by Matt Dawson P. 24: TEMPLES FESTIVAL PREVIEW Francis Mace interview by C.Massei P. 26: AVATAR Interview by Cristina Massei P. 27: LIFE Interview by Cristina Massei P. 28: FALLING RED Interview by Nelly Loriaux P. 29: THE CRINGE Interview and photos by Cristina Massei P. 30: AT THE MOVIES By Cristina Massei P. 31: SXSW SPECIAL By Denise Britt and Steve ‘Sin’ Sinatra P. 33: ALBUM REVIEWS P. 34: SINGLE AND EP REVIEWS P. 35: LIVE REVIEWS Cover photo credit Jon ‘Boogie’ Tiberi
EDITOR IN CHIEF & ARTISTIC DIRECTOR: Cristina Massei thewickedwitch@sonicshocks.com ASSOCIATE EDITORS: Matt Dawson - cygnus@sonicshocks.com Nelly Loriaux - nelly@sonicshocks.com US CORRESPONDENT: Denise Britt - denise@sonicshocks.com
Contributors on this issue WRITERS: Nina Antonia, Paul Roundhill, The Reverend Eddi, Matthew Higgs, Sophia Disgrace,, Steve ‘Sin’ Sinatra, David Joseph Brady, Cat Cantlay, Mark Fletcher PHOTOGRAPHERS: Cristina Massei, Paul Roundhill, Matthew Higgs, Denise Britt, Tim Finch, Mark Fletcher
CONTACT US General enquiries, review requests and unsolicited material: info@sonicshocks.com Advertising enquiries and info: advertising@sonicshocks.com PLEASE NOTE: We listen to everything but - often in your own interest - we don’t always review it...
April 2014
Sonic Shocks - Issue 23
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Lucky Strikes Back a short story by Nina Antonia
Photo Beki Cowey Effects Vice Lesley
With wry amusement, I watched as Johnny Thunders and Nick Kent attempted to flag a cab down on a busy London street but not a single taxi would stop for them. It shouldn’t have been a big deal, all they wanted was a ride to Kensington High Street but perhaps it was the high that was the problem. Yet they looked sober enough, Johnny, sporting a shark’s tooth earring and rakish suit whilst Kent, a lanky brush stroke in black was unmistakably fey despite his 6 foot stature. Certainly their mutual pallor may have been a little unsettling to the average cabbie but London in the mid1980’s was a thriving, cosmopolitan city, right? After 10 minutes of fruitless arm-waving, Thunders gesticulated to his girlfriend, Susanne, and myself, to take over, the attempt at gallantry having failed. Once Johnny and Nick had sloped out of view, Susanne and I managed to hail a cab in less than a minute flat, leaving the door ajar for the guys to jump in. The driver gave them a disapproving glance. It was hardly an auspicious start to the evening, but society’s standards are rarely in tune with those of the artiste and vice versa. A thousand cabs could have sped by but I knew I was in the company of legends; albeit of the tarnished variety and who wants to hang out with boy scouts? Nick Kent, formerly the NME’s star scribe had fallen on hard times, though his prose now submitted to The Face, was as piercing as ever. Growing up in Liverpool, I’d considered him a visionary who fired off front-line dispatches from the most profligate scenes of rock n’ roll debauchery imaginable. Kent’s early mainstays had included The Rolling Stones, Iggy and The Stooges and The New York Dolls but like the majority of his favourite subjects, Kent had succumbed to hard drugs. He’d written plenty about Johnny Thunders during the halcyon days of the New York Dolls, and there were certain parallels for both had soared early before flying too close to the sun. However, by this juncture, Johnny Thunders was enjoying a renaissance in Europe. Despite his infamy as a junk fiend and latter day exile from mainstream success, Thunders remained a star, not least for his grimy panache and dangerous stage craft. My role in the unfolding story was to write his authorised biography. In those heady days, you could still smoke pretty much anywhere and we left the taxi in a grey haze of Thunder’s favourite brand, Lucky Strike, as we pulled to a halt outside an upmarket wine-bar and restaurant. Mostly, JT struggled for money but he’d been bank rolled following a successful run of gigs and was in good spirits. He proved to be a generous host, introducing me to the delights of banana daiquiris, treating Susanne to anything she wanted and making sure Nick Kent had enough to eat. Though wide-eyed I wasn’t oblivious to Nick’s plight for it had clearly been some time since he’d had a decent meal. Thanks to the daiquiris, I remember little of the conversation, except for a gimlet eyed exchange between Thunders and Kent concerning a certain Malcolm McLaren. On this subject alone, they spoke with the low conspiratorial hum of vexed serpents. A terrible realisation set-in; I was in the company of men for whom there was no tomorrow. For Johnny, the upbeat moment was to prove all too fleeting and for Kent it was merely a pit-stop until he was back on the street as human tumble weed, but the humour of the condemned is always livelier than the blunted wit of the complacent. As the evening wore on, Nick mentioned a Columbian connection which roused Johnny’s interest, only Susanne wanted to go back to the hotel and I was mindful of catching of the last tube. One thing was for sure, none of us wanted to take a cab. As we left the restaurant, Johnny lit another Lucky Strike. I wondered if it was an offering to the Gods of nicotine. Smoke enough and you’ll get lucky. Johnny Thunders died at the age of 38, on April 23rd, 1991. He left behind three children, including a daughter with Susanne. Abandoning his role as rock somnambulist, Nick Kent recovered and his memoirs ‘Apathy for the Devil’ were published by Faber in 2010. ‘Johnny Thunders – In Cold Blood’ was published in 1987 and remains in print via Cherry Red. It is the subject of a film adaptation with the working title of ‘The Dangerous Life of Johnny Thunders.’
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Nina & Johnny
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the book, the movie, the memories On 23rd April 1991, the music world mourned the loss of one of its most unforgettable icons. Like many other legends, the circumstances of Johnny Thunders’ death are still surrounded by mystery, myths and conspiracy theories; but on the 23rd anniversary of his death we have chosen to celebrate his life, short and intense, full of sadness and drama but also full of love, passion and overwhelming beauty, not to mention great rock music. We’re in the early 80s and a young aspiring writer from Liverpool, Nina Antonia, sets her mind on writing a book on Johnny Thunders. Initially faced with rejection by all major publishers, she finally gets the go ahead from Johnny’s label, Jungle Records, and embarks on a four year adventure which will change her life. Honest, respectful, touching and painfully real at times, ‘Johnny Thunders - In Cold Blood’ was published for the first time in 1987, and is recognised as the ultimate bible of all things Thunders. The book is still available via Cherry Red and is about to be turned into a movie, directed by Nike Young Directors’ double Award winner Alexander Soskin for L.A.M.F. Films in Los Angeles. We met Nina to talk about the movie, the book and the life of Johnny Thunders. Despite being a little shy, Nina is warm and yet professional as she tells me about the film and why she felt confident enough to trust Hollywood with her ‘baby.’: ‘The production companies were always the one’s to make the first move, approaching either myself or the original publishers, Jungle. It
might sound grandiose but it isn’t really. When you option a book, it means that the company rent it out for a certain amount of time, However, despite several film-makers coming forward, it was really important that we optioned it to people with the right aesthetic sensibility. Finally, L.A.M.F Films who are based in L.A introduced themselves and showed more of an understanding than any of the previous contenders. The book is very dear to me and to a lot of other people, so whoever was going to adapt it, we wanted to make sure that it was with love and good intentions, which L.A.M.F Films, possess.’ I asked Nina about the current state of play: ‘We’re at the stage of final revisions on the script, which usually means me answering 20 questions a day on different scenarios that happened and how best to convey that. It’s a multi layered process – writing dialogue is one thing but you also have to catch the nuances of the character; for example how would Johnny have reacted to a situation? How would Jerry Nolan have responded? But one also has to bear in mind that film is a state of hyperrealism – it’s a very strange process to be going through.’ Nina pauses, reflectively – ‘I recently read something by Kathy Etchingham who had a relationship with Jimi Hendrix, and later wrote a book about it. A Hendrix bio-pic has just been completed with Andre 3000 in the lead role. As someone who knew Hendrix well, Etchingham was pretty upset by his portrayal. You can’t please all the
people all the time but you can be sensitive and do your best to attune to the subject. No matter how good a book is, a film usually becomes the defining statement, so it’s quite a responsibility. I’ve had a couple of people write to me, saying stuff like ‘Hollywood never gets it right’ which is a bit of a blanket statement, to say the least!! There have been countless wonderful movies but you also have to bear in mind that the Thunders project, which has the working title of ‘The Dangerous Life of Johnny Thunders’, is an independent endeavour made by Thunders aficionado’s rather than a Spielberg block buster as some folks have insinuated. What are they expecting – JT meets ET?’ Next, we get talking about who could make the most authentic Johnny Thunders… ? ‘Oh, there’s someone I really want to play Johnny, a young actor I can’t name at the moment who would be my first choice. Back in the day, Al Pacino circa ‘Panic in Needle Park’ and ‘Dog Day Afternoon’ would have been perfect but time moves on inexorably. Once the script is finalised we can progress to casting and preproduction. It’s a surreal process to go through, because the film is structured in flashbacks, time has become elastic which means that actors will be seen in several stages of development, from the New York Dolls to the Heartbreakers and beyond. ‘ At this point, we go back to the very beginning of Nina’s adventure, when – after buying a copy of Iggy Pop’s ‘I Need More’ she first noticed there was no book written on Thunders; we talk
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about a wall plastered with rejection slips, and the short sight of publishers just like labels, stuck on what sells ‘big and now’, missing the point and losing touch with their audience: ‘Ironically, things are even worse now than back in the early 1980’s when there were more independent outlets. ‘Johnny Thunders – In Cold Blood’ was published in the post – punk boom, when folks broke away from established routes be it music or publishing. Now its sales teams who make the ultimate decision on what is released but it limits the market when it is governed solely by commercial consideration. Of course a product has to be financially viable but not to the extent where the market petrifies. The middle ground taking a chance on something different has largely been lost. In its place you get the towering miscalculation of the epic fail of Lady Gaga’s ‘Artpop.’ Sometimes, a book or a band will manage to break through the glass wall of the corporate lock- down but it’s a hard road. I often think of the author John Kennedy Toole who wrote ‘Confederacy of Dunces’ which met with endless rejection but is now hailed as a great book and won the Pulitzer Prize. Toole sadly never got to see his work recognised as he committed suicide but his mother, convinced of her son’s literary genius, waged a campaign to get the book published after his death and succeeded. I’m not saying that ‘JT – In Cold Blood’ is a literary classic but there has always been a demand for the less than obvious. It’s been in print for 27 years which is something of a record for a music book – surely that says something? I hear on a weekly basis from people saying how much they love Johnny and that they cherish the book. When you put something out there, just occasionally it will catch the breeze and start a journey. ‘JT – In Cold Blood’ has been to more places than I have!’ Inevitably things turn personal at this point, as we strive to bring out a part Johnny few had the fortune to know. We ask how the proximity to such a different lifestyle influenced her, how did she live that experience. ‘Johnny especially was very protective of me when it came to drugs. He never used in front of me or created a situation where I would be unduly exposed to that side of his life. Of course he had his drug buddies but by the time I met him, he was respectful of the feelings of those that didn’t wish to be involved. Obviously, I knew what
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was going on and the effect it had on him but he endeavoured to be honourable. That was the thing about Johnny; beneath the bad boy exterior, he was a vulnerable human being. Certainly, you get the sensation seekers that want to vibe off the junkie image but he was a multi-faceted character. What I did learn, however, is that hard drugs ultimately devastate the person and those around them. There were many people who loved Johnny and offered him support but addiction is comparable to watching a car speeding down a cliff at 100 miles an hour - you just want the brakes to work and in Johnny’s case they didn’t. ‘
Nina’s big eyes gradually turn shiny, as the conversation moves deeper towards the human aspects of her friendship with the late artist. Time to leave the drama aside and relish a funny memory for a change… ‘He was staying at a hotel in London and completely trashed his apartment, not deliberately, things just got that way with Johnny. The manager was on to him and room service was trying to get access to the room which was a scene of unutterable devastation, and would have led to a considerable bill for damages had they managed to nab Johnny. The plan was to try and leave the hotel in an unobtrusive manner but that wasn’t one of Johnny’s fortes either. As usual, his suitcase was bulg-
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ing at the seams and we had to lug it out of the building without being noticed. We were standing at the top of a flight of stairs, when the suitcase slipped from our grasp and wemt hurtling down to the reception area, creating the most terrible racket and narrowly avoiding an elderly couple. That was our so-called quiet exit from the hotel…! We just had to run and hope for the best.‘ We share a heart-warming laugh and get back to talking about the book and some more Thunders’ related projects… ‘Johnny Thunders – In Cold Blood’ was originally released in 1987 through Jungle Records. The first edition is in large scale format and is just beautiful, the paper is beautiful, the lay-out is beautiful and the photographs are beautiful. The reason why it’s so incredibly beautiful is because Jungle Records didn’t know anything about publishing a book and they over-budgeted. It was a case of divine folly for which I’ll be eternally grateful. In 1996, Jungle licensed the book to Cherry Red, for an updated version, which contains additional material, including interviews with Jerry Nolan and Johnny’s sister, Mariann as well as the musicians involved in his last band, The Oddballs. Though the Cherry Red version contains more information it isn’t as visually appealing. Ideally, I’d like to merge the two for a deluxe edition. I’ve just completed a revised version for Kindle, which will be out this year.’ As we finish our drinks, I ask Nina about ‘Looking For Johnny’ a forthcoming Thunders documentary by Spanish filmmaker, Danny Garcia, in which Nina appears alongside the likes of Sylvain Sylvain, Walter Lure, Frank Infante, Peter Perrett, Bob Gruen, Leee Black Childers and the late Marty Thau. ‘Looking For Johnny ‘is due to premier in late May, early June. I believe it’s opening in quite a few places including New York and London. It’s a great documentary that has been made with love and respect for its subject, so make sure you check it out.’ On my way home, I wonder how many talented and trustworthy writers like Nina are left in the music business. And I wonder if having your life touched by a tragic, beautiful soul like that of Johnny Thunders is after all a blessing or a curse… I guess there’s no answer to that. ‘Lucky Strikes Back’ is an original short story written for Sonic Shocks by Nina Antonia. All Rights Reserved.
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An interview with
AARON HARRIS Aaron Harris (Palms/ISIS) Drummer, recording engineer, mixer, producer, touring drum tech extraordinaire: Aaron Harris is one of those people who breathe music and evolves in it and with it. There are always more projects going on in his life than most human beings could handle, and enough passion and talent to get the best out of each one of them. As we catch up with Aaron, he’s about to go on tour with Tool as their drum tech, working on the new Palms album, working with a few more up and coming bands and promoting the re-master of Isis’ masterpiece ‘Panopticon’. Plenty to talk about. I understand that Palms are working on some new material. Can you give us an update on how that’s going? Yeah, we have a few songs that we have been working on. I’m really excited about them, they’re – I dare say – heavier. I think with the last record some were disappointed with the lack of heaviness; it wasn’t intentional, the music was just what it was and this time we’re writing some of the heavier type things that we’re used to. There’s definitely that Palms sound there, we’re just picking away at them, Chino’s really busy – he’s got the Crosses record, we’ve just taken it as we can and are hoping to get it out sometime later this year. So the new material compared to the first record has more of an ‘identity stamp’ of the band? Yeah, I think that’s safe to say even though we all have a sound individually. Starting a new band we explored some things, tried to figure some things out and I think we definitely have a sound now. It’s a continuation of that sound but also I feel that it’s been tweaked in ways to make it better. Is it more difficult finding a band’s own sound when everybody comes from so many different experiences? It was surprisingly easy actually. I’ve made music with Jeff [Caxide] and Cliff [Meyer] for so long but it was something new and we did have to figure out what we were doing and what we did and did not want to do. It’s easy in some ways but challenging in others, overall it’s really fun and I’m satisfied
doing it. When you first announced Palms were you worried it would be dismissed as ISIS music but with Deftones lyrics? That was a big concern for us and I think a big concern for Chino too because he was in a way an outsider while Jeff, Cliff and I had been writing for years as ISIS and we had that bond. For Chino I think it was like ‘I hope people don’t think it’s ISIS with me singing over it’ and we didn’t want either, we wanted to try something new and the end result was that, you can hear those influences but it still had its own identity. Now moving on to ISIS – there’s a remastered version of Panopticon coming out. How pleased are you with the job Mika Jussila did? Really blown away. I’ve worked with him in the past and he’s always done an amazing job with the mastering I’ve given him; he just gets it and when I asked him to re-master this ISIS stuff he was really excited about it and he took pride in doing them justice, he took them to another level. I feel like these re-masters have brought out a lot of detail that were there but weren’t as audible as they could have been. How is it listening to the songs now as opposed to back then? It’s totally different for me now. When you’re the person writing the songs and you play them year after year – I must have played them hundreds of times – after a while, even though I didn’t take them for granted, they became routine – songs we played, day in and day out. Now years later when I’m not playing them or listened in a while I can hear them so much differently and it helps me understand why people like our band, I hear the songs now and I’m like ‘wow, we were good!’.
Which songs surprised you the most? Some of the songs live had taken different shapes specifically ‘In Fiction’, I remember changing the way I played it and that’s the way I came to hear them in my head; going back to hearing them on the record I was like ‘oh wow, I played that differently.’ Same with the other guys, it just happens – you play them live so many times you start experimenting. When I heard ‘Syndic Calls’ was just a trip, because we hadn’t done that song in years to the point where I had forgotten about it! Do you feel the original idea and integrity of an album can be compromised by a re-mastering? Absolutely. I’ve heard lots of classic records – ZZ Top, Led Zeppelin, Pink Floyd – that for me are overhyped masters that lose the vibe, the character of the album and I was concerned that re-mastering would take away from it but Mika did enough to make it obvious without pushing too much into a realm where it was beyond a quality master. I feel that with old records the qualities you like about them get destroyed in these re-masters where they really hype the high end and it really doesn’t sound that great anymore, it doesn’t have that vibe. I always thought Panopticon was the closest to a ‘concept album’ ISIS ever got to in their career, was it a conscious effort at the time? Yeah, it’s funny because we’d write the records and the concept came much later when we were finishing the album.
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That was really Aaron Turner’s realm: vocally he’d try to tie each record with a theme. It was never a concept in the song writing process but more a vocal/ artwork thing that came later. We did the same with Palms, Chino wrote his vocals after the songs were written, there’s no concept on the Palms record but it’s interesting as I wonder if other bands work the same way; for us this is how it worked. Can you tell us about the new artwork that will be included? Same sort of concept, it’s just an added bonus to make things a little bit different but keeping the integrity of the original artwork and the concept of the album. It’s not a drastic change but there are some tweaks that people will be excited about. Now you’re a busy man with many projects, so for a start let’s talk about the Jezabels, how did working with them come about? I’d heard them on a video by BMX rider Danny McAllister that was on YouTube and I looked them up, noticed they were an Australian band and emailed a friend that was down there who was our booking agent in Australia asking if he had heard of them and he said ‘it’s funny – I manage them!’ He mentioned that they looking to tour the US and asked if I wanted to do their live sound. So I did a few tours doing tour managing for them, we bonded musically and I think they’re a great band so I was honoured when to asked me to do a remix. You also worked with Gil Sharone at the end of last year – how does it feel working with other drummers in the studio? I love it! I love being in a studio and helping other artists achieve the sounds they’re looking for. Working with drummers like Gil is a great time, he’s a great drummer, I love his playing, it’s almost easy with him as it’s hard not to have fun and get good sounds. I love working with other bands and being in the studio. Two bands you are currently working with are Carthasy and True Champions Ride On Speed, can you tell us more about those two? Carthasy – I wouldn’t know how to describe them but they asked me at the start of 2013 to mix their record, they had recorded it in Australia where they’re from. It was cool, I get a lot of these bands from all over the world and it’s amazing when I get to mix a record from LA for a band all the way out
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in Australia, it just blows my mind how this can happen and how easy it is with technology these days. True Champions Ride on Speed are located in Belgium and when I’m going to bed they’re downloading the mix and leaving comments so when I wake up I have comments to work with! Technology has done a lot of good in a way… If this was around when ISIS were making records who knows? The possibilities these days are incredible. I read on your website that your philosophy is to play music from the heart to create a meaningful experience; after all these years do you find the emotional side is harder to achieve? Not for me but I do see that with other bands. I feel that technology has taken over. A lot of bands these
days, their mindset is backwards to me sometimes as they think about how they’re going to cut songs to a grid and done to a click, takes can be chopped up and comped. I feel that bands should focus more on being prepared, fully understanding their music and play from the heart. Technology’s done some great things but it takes away the human emotion if it’s abused. So when you do music like Palms your heart’s still in there? I feel it wouldn’t be worth doing if it was just a paycheque, it wouldn’t be the same kind of music. I think you can tell in the music that it’s coming from the heart not just doing it because we need to. Out of all the things you doing now – you are touring with Tool as a drum tech, producer and composer, what’s
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the part you love the most? I love being involved in music and feel really grateful, I guess my favourite thing is still playing drums and that’s my absolute passion along with writing music, but I really love mixing – trying to make something great with other people’s songs as well as remixes – I’d love to do more. So if you weren’t making music – what would you be doing? I don’t know, I came from a small town in Maine… Stephen King’s place… Yeah! Maine’s known for ship-building or fishing so it’s hard to say what would have happened. When did you start? I got serious around the 6th grade – 11/12 and did some cover bands with friends. Did you ever think you’d get this far? No, never. If someone in high school had told me I would be touring with Tool or even be interviewed about music I never would have thought it’d be possible. I feel really grateful because I know there are a lot of talented people not getting breaks, it’s a hard industry as the world is flooded these days. What is your advice to a young artist? Work hard and take chances while you can, as you get older you get more responsibilities and less chances to go on tours. A lot of people don’t want to do that these days, you just need to believe in it and work hard. It’s not just going to come to you. To close what else do you have in store for 2014? Just to keep working on new Palms music and working with other bands, hopefully having another good year making music and keeping busy – maybe some more remixes, I’d love to do that. Any chance we’ll see Palms touring? Yeah, we’ve talked about doing some more. Like the music it’s all about finding the time, but we definitely want to come over to Europe. PANOPTICON, the second instalment in the ISIS reissues series (after CELESTIAL) Is out 28TH APRIL on IPECAC If you are interested in working with Aaron Harris or would like to find out more, head to http://www.aaronharris-audio.com/
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Some acts need to be witnessed live, some are strictly good on record, some manage to sound about the same; and then you get those few that demand the full experience. The Correspondents, well known on the live circuit after 4 years of mindblowing performances worldwide, have finally unleashed their debut album, ‘Puppet Loosely Strung’, on 10th March via From Our Own and delivered the missing piece of the puzzle, with a mix of upbeat and mellow that hit their fan base by surprise. A welcome surprise nevertheless. In between gigs, singer Mr Bruce found the time to sit down and answer a few questions for us… After four years gigging relentlessly, your debut album ‘Puppet Loosely Strung’ is finally out… The first question – a common one I noticed on your Facebook – is: what took you so long? The gigging slightly got in the way of recording! It wasn’t until I broke a bone in my foot that we had a considerable lump of time to spend tinkering in Chucks’ studio. In the past five years we have probably made 4 albums worth of material but this is first time we’ve been happy with a body of music. The Correspondents already have a steady fan base due to their acclaimed live performances; was it difficult to put the vibe of your shows on record? We didn’t think of transferring the live sound to record, we felt
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this would be a futile pursuit, we saw them as separate entities with certain crossovers. I think Chucks focused on subtleties in the production that are lost in the live performance. We concentrated on making music for music’s sake rather than music to play out live so many of the tracks are deeper, slower and more introspective than what we are known for. The album was self produced, recorded and released; was it hard work and did you go down this route mainly to make sure it sounded exactly like you wanted it to, not finding the right person or just saving money? I would say a combination of all the above but you certainly don’t save money by self-releasing. If you sign to a record label they are taking the financial risk on your behalf. Doing everything ourselves is a lot more work but we enjoy having total control over our output whether it be the music itself, the branding or the videos. ‘Puppet Loosely Strung’ contains some of the more upbeat tracks your fans are already familiar with from the gigs, but also a more introspective side of you like in ‘Alarm Call’. Did your followers react to that with the same enthusiasm? I think and hope so. Alarm Call was released as a single of sorts and didn’t get as much attention as Fear & Delight but we weren’t expecting it to. Now that the album is out people are starting to show enthusiasm for
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tracks like Puppet Loosely Strung or Kind of Love because I think they need a couple of listens, they are growers I guess. Are you currently performing these mellower songs at your shows and how are you finding it? Yes we are introducing them into the live set. The song Puppet Loosely Strung is going down well and provides some necessary down time for me. I am still finding strange and nerve wracking standing still and singing a song rather than leaping about like a rodeo horse! Your sound is eclectic, colourful and – I find – pretty impossible to put in a box. If you should describe it to the uninitiated, what would you say? After years of doing this we still have come up with a succinct little sound bite. Chucks uses the term genreblending quite a lot which I like but that still ain’t much help to the uninitiated! For those who just have – or are about – to discover The Correspondents through the record, how would you describe your live shows? A producer DJ leading you on an hour long journey through a multitude of alternative dance genres with a hyperactive, balletic and unrelenting singer who is hasn’t won until you are as enthused as him. Summer is getting closer, an ideal season – I find – to enjoy your music. Where can we catch The Correspondents live over the next few months, are you guys touring (UK and out), any Festival call yet? We are in the middle of a UK tour and festival season is looking as busy as ever. Last year we clocked 26 and this year is no different. Best to check our gig list at http://gigs.gigatools. com/user/TheCorrespondents You have fans all over the world already that you made on the road. Aside from the UK, where did you find the best reception so far? Australia was pretty mind blowing. The first time we went we reset our egos and prepared to play to 20 people in a field. Instead the smallest gig was about 2,000. After years of experience with production – including video – have you thought about working with other acts? Is it something that might interest you creatively, given
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you had the time? We’ve certainly thought about it. For this album we wanted to show people what we could do as a duo. But for the next one we may well start collaborating. Can you tell me about the techniques used in the video for ‘Alarm Call’? It is a time lapse and stop motion animation of two painted portraits. To break it down: I painted two portraits of myself and my brother growing up, I painted a portrait of us as babies then on top of that a portrait of us as a 4 year olds, then 6 year olds etc. I recorded the process with a camera that takes a photo every 8 seconds. Then a condensed this down and synced it to the song. How did you decide to use it to raise awareness – and funds – for the Epilepsy Society? Any personal experience, someone close maybe? Yes, my twin brother Eddie died of an epileptic seizure in 2006 and Epilepsy Society down amazing research into the condition. You guys grew up in South London, are you still based there? What’s your favourite place in South London
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to hang out during the day and which one at night? Any club you can recommend? Chucks is based in Hackney and I’ve remained south in Elephant and Castle. There’s a decent pub called The Gladstone in Borough and Corsica Studios is a great club tucked behind the Elephant. Where can we find ‘Puppet Loosely Strung’ (in and outside the UK) and what formats are available? It’s available on iTunes http://tinyurl.com/pq798f2, CDs from Amazon http://tinyurl.com/ ncprrvband and from Kudos http:// thecorrespondents.kudosrecords. co.uk/new_releases.html If you could have a very special guest – dead or alive - joining you on stage only once, who would that be and which event/venue in the world would you prefer? Oh boy. Well I’d love to collaborate with Wayne Coyne on a song and design a stage set with him. Either that or have a dance off with Janelle Monae. It would have to be at a late
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night stage at Glastonbury. Dreaming on. What else can we expect from The Correspondents in 2014, and what do you hope it will bring for you? Album’s out and we are hitting the road but we are releasing a couple more videos. One great video directed by a friend called Fergus Dingle involving some highly skilled puppeteering and possibly another animation from me if I have time. We hope we can continue make what we want to make and get to see more of the world - hitting the US would be fine thing to do.
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Following a well needed break for the band Malefice will be releasing an EP this May. To celebrate their return vocalist Dale Butler talked to Matt Dawson about why the break was needed, how new drummer James Cook is settling in within the band and how Emmure’s good gym music. You’ve recently revealed that a new EP is coming out after a bit of a break. So to begin: Why the reason for the break and what can we expect off the new EP? We’ve been in this industry for 10 years and this EP will be our sixth release, we grew into an industry that was evolving and changing so fast, it’s been hard to keep up with. If you look at when our first album came out in 2007/2008 to how different things are now for artists… It was just a bit overwhelming for us and I think our age as well – we were mid to late 20’s – you go through a lot of changes personally as well, you start getting more responsibilities and it just got a bit too much. We had to go away, sort our own lives out, regroup a bit and decide what it was we really wanted from this band, it was the best thing we could have done to be fair. We didn’t see each other for 3 months and that’s probably the longest we’ve all gone in 10 years, we all got back together and it was like nearly splitting up with a girlfriend – really bizarre but we all got together, started talking about music, ideas and visions. It was just the right time, we wanted to do another record, Transcend wanted us to do another record. We’re lucky enough to have the backing of a label, we have a fanbase – 5 releases with 10 years of touring behind us, why the fuck not have some fun with it so here we are and the EP’s going to be our heaviest record yet! Talking about an industry evolving – we tried to match it and I think we got a bit lost and had to go away to find ourselves, we want to write heavy music for those that love underground bands, we’ve got no interest in trying to take over the world, we’ve made our mark and we just want to have fun with it. Last time you and I spoke was back in 2009 at Hellfire Festival – at the time in regards to a changing industry Spotify had just launched, now in 2014 – given labels have pulled out and Thom Yorke et al have made comments regarding artist payments – what are your thoughts? As a consumer: brilliant, the best thing that could have happened to music. As someone within the industry: I think it’s brought it to its knees. There’s a flipside: I discover so many new bands that I missed through Spotify, so many underground hardcore bands that I hadn’t
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caught the wave of. Loads of people are discovering US through it. At the end of the day we all have day jobs and I guarantee that 90% of bands you think may make a living from this job do not, that’s the harsh reality and why many don’t tour as much anymore, even the big hitters. You used to get every tour going – Defenders Of The Faith tours twice a year and everyone would be on it, these days it just doesn’t happen – it’s a different market. The recession and Spotify hit at the same time and brought the industry to its knees. People coming through now though know nothing different – they didn’t know what it was and it’s a shame. It’s rare when small towns get big gigs – a small few a year now… The impact of record sales didn’t immediately have an impact, it took a few years. You’ve got 2 big promoters in this country and now Sonisphere’s back they do 2 of the biggest festivals in this country and as a business model it’s more viable to book their bands that way, get them all over for one day and 100,000 people turn up than the risk of a few turning up randomly at a show. If you look at bands like Lamb Of God they’re always going to sell, one of the first shows I ever went to was Slipknot at Docklands Arena and Deftones there – you couldn’t pull that crowd in London now. Look at when Machine Head did Wembley Arena – didn’t sell out. Look at all the bands that have put a massive footprint on this scene and how they can’t do the numbers they SHOULD be doing because people can’t afford it anymore.
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You had Bring Me The Horizon who were in a sense rising stars at the time… It was a proper bill and it should have sold more – reflects the times I suppose. In a sense that’s probably why Chase And Status and Prodigy were above them. Exactly because they’re the kind of music that’s selling at the moment, I’m saying metal doesn’t sell but it’s a different animal than it used to be. The ‘is rock dead’ arguments have started AGAIN… Terry Bezer and I have this conversation a lot – we kind of sing from different hymn sheets on this. My argument is that it’s dead and it died a long time ago BUT it reincarnated into something different. The reason everyone’s so frustrated is because what we knew has died and it’s a different era. Record companies didn’t react quick enough to I-Tunes, the internet and Spotify but in the same is there anything they could have done? It’s hard for bands that have been around as long as us, god knows what it’s like for those that have been around longer like Machine Head. It’s changed and we have to deal with it – it’s why we took a break: we had to get our heads round not only ‘do we want to do this anymore?’ but CAN WE do this? We love making music, I left fucking school because I got my first record deal and we toured for a few years around the world. Now: we have houses, starting families, we’ve had to start businesses to fund what we want to do. Bands like
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Metallica in the 80’s –and I know it’s an extreme example – wouldn’t have had to do that, that’s why people can’t get their heads around it. The only people doing that are One Direction and that’s the sad reality of it, whoever says they can (and I don’t mean to break any aspiring musician’s hearts) needs to wake up and come to terms with the fact shit has changed. What then led to the change in label from Metal Bade to Transcend for Malefice? I think when you take into account everything I’ve said – it’s better to be a big fish in a small pond – I’m not saying Transcend are a small label but I can ring Rob [Ferguson] and have a conversation with him, that was a big thing for me. I didn’t want to have to deal with people in California or be below the pecking order of bands like Amon Amarth and stuff that’s doing better business than us plus because of the world we live in its money driven. Why would they back us over them? The UK side of the label were great, the US side really let us down. We had a conversation with the UK side and said ‘Nothing personal, we’ve had a great time but it’s time to move on’. They completely agreed. We have history with Rob, he wanted us there and I’d rather be at a label that wants us rather than going through the motions, we’re musicians at the end of the day before businessmen and musicians just want to be loved and get our egos stroked, sometimes you have to change to do that. There was never label pressure to be a particular genre? There wasn’t directly but indirectly when you’re on a label such as Metal Blade and you have the roster surrounding you that they have – you feel that you have to write something they’ll push. We wrote Awaken The tides and was like ‘What the fuck have we done?’ It’s not that we hate it as a record but it wasn’t where we wanted to be, the evolution of Malefice where we wanted to take it. Back to the new EP – you have James Cook formerly of Anterior joining the band. What led to him joining the
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group? It comes back to us taking a break, people looking at what they’ve got on their plate. Chris [Allen-Whyte] is a very dear friend of mine and always will be, I love the guy like a brother. Without going too much into it he has a lot on his plate and I didn’t want to give him the added pressure of everything we’re about to go through again. Fantastic drummer and a great friend but we were moving in a different direction. The only person that was going to replace him was James, he’s done a few shows with us when Chris got married, he did 4 shows with us in Europe with Anthrax. It just felt natural, Chris was happy for James to step in and James was happy to step aboard. There’s absolutely no animosity there – I know bands say that and there’s underlying bullshit – but there really isn’t, Chris means more to me than just a band member and vice-versa. Everyone should be excited for what James brings, it’s going to change our sound quite a bit and we’re fucking excited! What led to the remix contest? We live in an era where everyone is an aspiring musician or producer and the technology to do so, so we thought ‘Why the fuck not?’ We love music and how people interpret us and we wanted to hear how others would with one of our tracks. We have a lot of friends that aren’t rock/metal such as DJ’s so we thought we’ll do it, might be a bit of fun. Thoughts on remixes themselves? It’s not just about changing the genre, I like hearing how a mind not from rock or metal interprets something a rock or metal band have produced, I know Skrillex is a poor example but it’s interesting to hear how he makes something heavy, just hearing someone else’s brain in your song. We’ve always worked with Justin Hill because it’s refreshing to have another go ‘what about this?’ If you hear the demos to our songs – structures are different. It’s like having another musical brain [and] we’re all fans of music, art and creativity – we want to promote that. Speaking of Justin – thoughts on the Sikth reunion?
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I’m stoked, it’s been talked about for a very long time. Sikth, Deftones and Slipknot are the reason I got into music. I’m happy for him as well because I know how much he’s missed being on the other side of the stage. It’s an interesting year with bands like Raging Speedhorn doing shows as well! There was a few years where no matter what show you went to they’d be on the undercard! It’ll be interesting to see them with Frank again. Which bands have you been listening to over the past 6-12 months? I’ve been listening to a lot of Emmure – I’m a personal trainer so whenever I’m lifting I listen to it 3 or 4 times a week, they’re the perfect tempo for what I’m doing, funny and heavy at times. The new Behemoth record I’ve been listening to solidly – absolutely fantastic piece of work. The last Born Of Osiris. When we took a break – I really took a break, pretty much lived in the gym so I was surrounded by stereotypical fucking gym music and it helped me how much I love this genre. Behemoth helped tie it all in. Thoughts then on how you feel social media’s made an impact? I abuse it, I’m not afraid to call people out and the reason I think we haven’t got some things is because I haven’t held my tongue back but I don’t want to be one of those nice guys – some people are just fucking dickheads and I’ll tell them. We’ve had arguments with some of the biggest bands because of how they’ve handled situations and the spin that comes out is I’m just a lairy, controversial dickhead but I like to think I’m fighting for the right cause. I grew up watching Pantera and wanted to be Phil Anselmo – my whole career has been based on ‘What Would Phil Do? Be true to yourself, in 10-15 years time we’re not going to be around, there’s a limited shelf life. I want to look back and think that I stood up for what I believed in, kept my morals and whether that means not selling a million records I don’t give a shit because at the end of the day everyone ends up in the same place.
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rock’n’roll museum By Paul Roundhill I lived in Brighton (well Hove actually) from 1974 to 1980. I moved there straight from school into a job as assistant stage-manager at the Palace Pier Theatre for the Summer season with Music Hall at The Palace a veritable “end of the pier” show; it was indeed the last production to ever grace the boards of the Victorian theatre with its silver coloured turrets standing a third of a mile from the shore, at the far end of the main pier which remains standing to this day. The theatre has sadly gone and even in 1974 music hall or variety shows were long past their sell-by date; the pensioners to whom such entertainments mainly catered were too thin on the ground to sustain the two shows daily seven days a week, for which a hard Ian ‘The Hat’ Loughler
The Crypt
working assistant stage-manager was paid the Equity minimum wage of twelve pounds. I augmented my wages by working in the Victoria and Albert bars at the front of the theatre and stayed in a hippy household in Hove where a diet of brown rice, good hashish, Grateful Dead and Captain Beefheart was all included for about six pounds a week.
Nat”, the tour-guide in the Beatles’ “Magical Mystery Tour”. By mid-August Brighton had had enough of the “traditional sea-side entertainment” and scenery and performers, crew and all decamped (being the operative word) to Great Yarmouth for the final weeks of the season at impresario Jack Jay’s Windmill Theatre. I bid a sad farewell to the pier with its Dodgems, Ghost-train, Helter-Skelter and tattooists, and youthful new-ager that I now was ingested a chunk of Siberian Red Ginseng to fortify me for the long trip up to the Norfolk coastal resort. There didn’t seem to be much of a future in music-hall so I signed up for a year foundation course at Epsom School of Art, where I learned the basics of photography, video, silk-screen and took an interest in
In addition to the usual duties of calling performers from their dressing Midnight & The Lemon Boys rooms, operating an ancient lighting board and shifting scenery I assisted the aged star Sandy Powell with his conjourer’s routine and performed under the lime-light as stooge for RubberNeck Nat Jackley who had made a brief dim impression on a new generation as “Happy
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Vandells Hangleton
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trip the light fantastic. A swarm of new bands appeared, often along with their audience powered by the powder and speckled blue pills. Rock and roll of the 50s and 60s had been fuelled by the speed supplied by the legitimate pharmaceutical industry; in post-war America there were as many as 17 million preconceptual and performance art; I scribed uppers by their doctors and developed the usual lively art school Britain had as usual followed suit. social life and an abiding passion The mod and skinhead cultures had for the Velvet Underground, then notoriously cruised down to Brighby 1975 moved back to Hove to ton on their parents’ pep pills and begin a three year fine art course now you could with some accuracy at the Brighton art college. “Comdivide the new music into Punk that bined Studies” was a pioneering were speeding and New-Wave who course which catered for fine art probably weren’t. students whose main concerns did not include painting, sculpture and Between 1976 and 1980 my favouprintmaking. Along with new aprite Brighton venues were a pub on proaches to art, around that time the sea-front called The Alhambra music was undergoing seismic where local bands invariably played changes. Jefferson Airplane convert- and the Crypt in the basement ing to a Starship was not enough; an of The Resources Centre - a tiny, entirely new generation was picking cramped Cavern like space where up guitars. Operation Julie, a masI saw Crass and The Buzzcocks and sive undercover police operation which provided rehearsal space. Nowas closing the lid on the Pandora’s table among local contenders were box of LSD that had liberally supThe Piranhas, The Depressions, The plied cheap light shows to the hippy Vandells, The Tecniques, Laughing culture, and cheap amphetamines Gas, Wrist once more became the drug of Action, The necessity for those young people Chefs (later who wanted to go out at night to Helen and the Horns), Dick Damage and The Splinters, Peter and The Test-Tube Babies, The Hot Gates, Smeggy and the Cheesey Bits, (later King Kurt), Joby and The Hooligans, The Ijax All-Stars, The Lillets, Ian (The Hat) Loughler, Midnight and The Lemon Boys, The Poison Girls, Billy Richards and probably a whole load more. The Piranhas I believe came closest to “making it big” and had a successful single “Tom Hark”. All of the above were marvellously entertaining, exemplifying all that was best in the local music scene and trod a line somewhere between Punk and New Wrist Action
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Dick Damage
Wave with a measure of Reggae, Garage and Rock and Roll. In 1980 I moved to London and the era ended for me. The Sallis Benney Hall at the Art College and Sussex University along with The Top Rank Suite, The Dome and The Brighton Centre hosted bigger internationally known acts. The Rock’n’Roll Museum will attempt to do justice to this provincial t wave of talp Cry Piranhas at the ent in coming issues. Included here are eight photographs …. many more are promised over the coming months. The Rock’n’Roll Museum includes a sizeable archive of photographs of musicians taken from 1976 − 1980 from which the eight pictures shown here have been selected. For more details, info and prints contact Professorro@Gmail.com. “THE ROCK AND ROLL MUSEUM” IS A REGISTERED TRADE-NAME SINCE 1990. This is a regular feature in Sonic Shocks magazine. All modules are available for syndication - all rights reserved.
April 2014
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Chiodos’ Brad Bell answers a few questions from Matthew Higgs… So Devil is out on 1st April, in just one word how would you sum it up? Refreshing What do you feel were the main influences on the band’s sound in the recording of the new album? The experiences in life we were going through. From inner band relationships to outside ones and adjusting to putting our all into this again. We approach each song with a mission to grab a different emotion or feeling. Which track on Devil are you most proud of and why? “I am everything that’s normal” It embodies us getting back together lyrically and musically it takes you on an adventure that reminds you of a lot of the different characteristics that we have exposed in the past. I know you have been pushing for the album to be released as soon as possible for some time, now it is so close to being out there, how excited is the band to see its reception? Yeah I remember when we finished at the end of october it seemed so far away, but each day it’s starting to feel unreal how close it is. We’ve released a few songs and I feel like it’s really hitting home with our old fans and hopefully presents us with opportunities to grow to new ones as well. Each song is so diverse that I feel like we can cater to a lot of different musical tastes. Devil is the band’s first release on Razor & Tie, what has the label been like as the band’s new home? They have been absolutely supportive of anything that we feel needs to happen with it, we couldn’t ask for more. In the past we always felt like there was a ceiling above us and they help us look beyond that. During your show at the Water Rats
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you talked about the band as a brotherhood, do you feel that your relationship as a group is at its strongest ever? Definitely. We all went through a lot over the past few years and learned important life lessons that have taught us the importance of communication and how to have functional relationships. We know now what not to do. A well-known quote goes “If you love something, let it go. If it comes back to you, it’s yours forever. If it doesn’t, then it was never meant to be.” Do you think that in some ways Craig’s departure and reentrance to the band has embodied this? Yeah, its just seemed so right when the idea presented itself. If it didn’t happen there would’ve been a lingering regret that would’ve driven us all crazy. We grew up together and it just seemed like it had to happen for the story to be complete. Devil is Thomas’s first release with the band, what impact did he have on its recording and the band’s sound? He brought a lot of ideas that took us out of our comfort zones. It doesn’t sound like Fall of Troy at all but it still sounds like Thomas. In this band he found his role and is playing it perfectly. There’s so much going on in our songs that everybody has to do what’s best for the part and not for themselves sometimes and that’s what makes this band so great. After member changes how easy was it to return to writing new material? It went fairly smooth. Everybody stepped up in their own way for this record when in the past that wasn’t always the case. We spent a lot of focus on shaping songs around vocals for this album opposed to shaping vocals around songs and it feels a lot more coherent. You mentioned that the writing process was slower this time around, how do you think this has affected the album? It allowed us to be more prepared and relaxed with the process instead of stressing out with our backs up against the wall. We were able to work on our relationships and make sure that our vision was clear. In other interviews you have men-
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Pre gig I caught up with Mr Bayley, who was busy meeting and greeting his fans…
tioned how the band’s members have changed as people from their younger days, do you think that impacted on the bands sound? Not a whole lot. Ever since we started we all knew what we were going for. An intense sound that is very dynamically heavy with theatrical and relatable lyrics. The only thing that has really changed the sound is growing older and finding new interests. How pleased have you been to the reception of the new songs you have been playing live? It’s crazy. We’ve been playing Ole Fishlips is Dead Now and the whole place pretty much is singing a long every night. It’s very inspiring to see and makes us hopeful that this record will be accepted well. In London you mentioned how you would like to be in Europe more regularly for shows, with this in mind, when can we expect to see your return? I believe we will be playing festivals throughout the summer and looking for any support opportunities we can get. We didn’t spend a lot of time there in the past so hopefully we can spread the love there this time. I know it’s still extremely early days but with albums that had two, three and finally four year gaps between them, what kind of a turnaround would you like to have on the bands future albums? We weren’t even expecting to make another album when we originally got back together, so I suppose we will see how this cycle goes and reassess the situation. I think we’re all hoping to get another one going and soon.
How is the tour going so far Blaze, are you excited about the show tonight? The tours been great, I’ve been very surprised as there have been more people than ever before coming to shows. I’ve really been enjoying it and am looking forward to the show tonight. This tour marks your 30th anniversary on the music scene, as an artist, how does it feel to have had such longevity, in what is usually such a notoriously fickle industry? Well there have been lots of ups and downs over the years... I’ve been broke, ill, this now feels like the best time for me. I’m the happiest I’ve ever been and the most satisfied, I’m not as ambitious Photo Robert Hucko as I was. I have a few thousand fans worldwide and they are very loyal -they are what matter most to me. You work as an independent artist, what advice would you give to other artists, looking to take a similar approach? How much has the internet and social media impacted on indie artists and their output to fans? I would say you need to get a degree in accountancy or book keeping...! There’s a lot of numbers to work out for yourself! You should also learn how to record yourself and present yourself as an individual, show what you can do. For me, the internet and social media is the only way to get myself out there. I’m a cult artist – I’m never featured in Kerrang! or Metal Hammer for example; the most important thing for me ultimately is the fans, and via Facebook I can take a picture, upload it and connect with them instantly. It’s the real me, raw and without the pressures of ‘Do this, do that’. You convey a great energy and passion as a performer on stage, do you have a favourite front man/woman past or present? Yes - Dio, he’s a definite idol for me and for many people from my generation. Also the late Bon Scott of AC/DC. How would you describe your music to someone who wasn’t already familiar with your work? I’d say that my music is music of passion, I’ve chosen this form of music - or it’s chosen me -to express dark and positive emotions. In life we are all at some time in similar situations, I’m no different from any one else, singer or not. I like to think I might vocalise for others, produce music that people can relate to. Your songs are known for their personal lyrics, how important is music for you as an outlet, has it always been something you’ve drawn upon? I’ve always wanted to play an instrument... Some aspects of my childhood were quite difficult and I’m dyslexic so that’s been hard. I’ve always loved singing, when I first started people said I couldn’t sing - I’m not a natural singer. Over the years I’ve learnt how to sing, I’ve had some vocal coaching and learnt a lot from my time in Iron Maiden working with Steve Harris. Now I have the tools I need to tell the stories I want to tell, I can now use my voice in ways I never could previously. What are your plans for the next year or so, tour and album wise? I will be doing more touring, including a solo tour of Canada. I shall also be collaborating with other artists and working on ideas for my next album. I want it to be something that fans of my previous work will enjoy, that’s what I’m hoping for...
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Formed in 2011 in a crypt not far from Kings Cross, LazyTalk are on a mission to shake things up with a unique blend of genre, style and attitude that has been labelled ‘Future-Ska’. 2013 saw the release of their ‘LUZAVILLE’ EP, produced by Gordon Raphael, who has previously worked with The Strokes on their iconic album, ‘This Is It’. On the live side, the band headlined London’s Scala, appeared at LeeFest and supported Babyshambles on their UK tour. They just released new single ‘Just A Ride’ and offered another track, ‘Memories’, for free download on their recently launched website lazytalk.co.uk, featuring a blog from their charismatic furry manager Bobby Bear. And they even found the time to answer our questions… 2013 was an important year for LazyTalk… Let’s talk first of all about the release of your first EP, ‘Luzaville’, where you worked with producer Gordon Raphael. How did that come about? Basically Pier’s sister knew Gordon Raphael from when she used to date Carl Barat from The Libertines. She made the initial introduction and we got on well. We recorded and mixed the E.P in two days due to studio time restrictions and us not being able to afford any more time really. Working with Gordon was great as he has a lot of experience and added a special touch to the tracks. We learnt a lot working with him. Do you feel that EP gives a good representation of what LazyTalk stands for? I think and this is my personal opinion that it’s a great first E.P but I still see them as demos, as we try and become better and stronger song writers, also we had limited time making the E.P so I think in the end some of it was rushed. But I still love every song on the E.P. Another great achievement last year was supporting Babyshambles on their UK tour. How did that come about and how did you find working near Peter Doherty? That came about after a friend of Pete’s saw us playing a gig in North London, said she played our stuff to Pete and he was interested in having us support Babyshambles
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at some point in the future. We didn’t hear anything for ages and then it all came about really quickly. Pete is a cool guy and we had a great time supporting them. Piers and his sister already know Pete from the Filthy McNasty/Libertines days so they already had a connection. You have a very eclectic trademark sound, blending ska, indie, jazz and some more; where does it come from, is it the result of different influences in the band? Yes lots of different influences, Me and Piers both used to love a bit of Jungle MCing back in the day so have a strong connection to Drum n Bass and UK Garage, as well as loving all the classic bands such as the Clash and The Specials. Sam is still stuck in the 90’s and loves his Brit Pop, Tag loves Dub and Bashment and Josh loves his house music, so yes a very eclectic mix. How would you describe that sound to someone who’s never heard your music? What kind of fans would it appeal to? It would appeal to anybody and everybody, we make music to make people dance with lyrics to make you think. We call our sound Future Ska, as it’s a mixture of many different genres with a strong Ska influence. What got you into music in the first place? I’ve always loved music as a kid, growing up my dad was a jazz guitarist and actually supported Jimi Hendrix before he was famous, my brother also played bass in a band so I grew up with guitars and instruments in the house. You have a new single out, ‘Just A Ride’; would you like to tell us a bit more about it? Is it part of the Luzaville EP? No it’s not part of the Luzaville EP, it was recorded quite a while after we done that, we recorded it at Midi Music in New Cross, South London who help young up and coming musicians. We recorded it over a few days and kept coming back to add bits, it took a while to actually get a mix we actually liked of it. We also didn’t have a clear idea of the song before we went into the studio so it took a while to get it right at first, but again we really love the track and the video. Any plans for a full length album?
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Yes we’re always trying to get better at song writing so at the moment we’re recording demos to decide which songs will work best for us. We will hopefully be recording a full album very soon. How would you describe a LazyTalk live performance? Sweaty,Energetic,fun, and lively. Expect to dance a lot. When can we see you live again? Any Festival slot in the pipeline? Yes/ We’re playing on the Main Stage at Lee Fest this year as well as at The Great Escape Festival, we’re also playing Mandstock and lots of other little festivals around the UK and hopefully Europe. You can get listings for all our gigs at our website www.LazyTalk. co.uk and on our Facebook page. I hear that you owe most of your fortune to manager Bobby Bear, would you like to tell us a bit more about this mysterious, essential character? I think we first came across Bobby at our old Local Filthy McNasty’s in Angel (no longer there sadly). He was a dodgy character but assured us he has all the contacts we need. You can check bobby on twitter @ bobbybeartalks and he also writes a blog on our website. Let’s play the LazyTalk Awards… Best album of 2013? I can’t really think of any specific albums at this moment, i’m a spotify guy, I normally just choose songs I like rather than albums, but I liked King Krules Album and Arctic Monkey’s new one as well. Best live performance? Any LazyTalk gig..;) Which act – aside from yourselves – should we keep an eye on in 2014? Fat White Family Lifetime Inspiration Award? Stevie Wonder Cunt of the Year Award? Too many to mention but David Cameron is a cunt. What are your plans for the rest of 2014? Festivals, recording and releasing some more singles and video’s. And finally, make a wish… I wish I could teleport.
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By Sophia Disgrace
Burlesque!
Welcome to your one stop drop for all the news on the best burlesque nights, in the capital and beyond! My name is Sophia Disgrace and I’ve performed at numerous events in the U.K and abroad, from festivals to the most exclusive clubs. I tend perform in a neo burlesque style and incorparate other elements, such as fire play, into my routines. Burlesque - or ‘the art of tease’ as it’s also known, first rose to prominence in the 1950’s; in recent years it’s enjoyed something of a revival, with stars such as Dita Von Teese helping to popularise the scene once again. Here are my pick of all things burlesque this month, typed whilst eating a ginormous Easter egg!
BLACK CHERRY BURLESQUE-EASTER EGGSTRAVAGANZA! @ The Black Cherry Lounge, Nottingham Friday 13th (!) April 2014 - 8pm-Late
First up is this cheeky ‘lil event, hosted by the lavacious Cherry DeVille. Acts on the night will include boylesque prince Flixx Demontrat, fiery red head starlet Ivy Wilde and the retro bombshell Missy Malone. There will also be a DJ playing only the very best in swing, rockabilly and a bit of the ol’ rock n’ roll, plus expect a few more surprises popping up/out over the course of the night! Tickets from £8.00 & £10.00 VIP tickets seating only are available here http://www.alt-tickets.co.uk/alttickets/home_black_cherry_burlesque.html
THE SILENCING OF MISS SCARLET
@ Proud Cabaret, Brighton Recurring event every Thursday - From 7pm-Late Okay guys there awesome not to inup to you to work out whodunit -who murdered
ain’t an Easter bunny in sight at this event, but it’s too darn clude in this issue! Imagine a murder mystery night, where it’s
the elusive pin up Miss Scarlet? Get sleuthing amidst a plethora of burlesque hi jinx and deadly glamour - definitely not to be missed!
This month’s velvet curtain reveals...
Tickets are £24.00, a 3 course meal is included in the price. Please call 01273 605789 for further information.
LEARN HOW TO MAKE BURLESQUE COSTUMES
Burlesque Spotlight!
@ Central St Martins, London
Various dates, please refer to the main site for further info: http://www.arts.ac.uk/
MISS NIGHTINGALE THE BURLESQUE MUSICAL
Various dates across the U.K from April 2014 This musical by Matthew Bugg is set during the second world war, as nurse Maggie Brown juggles caring for the wounded with dreams of fame in the illicit world of cabaret. Can her and Jewish, song writer friend George defy circumstance and get the infamy they
This short course will be running across 2014 and offers unique insights into the art of burly costume design. These rather special tutorials will be exploring the feminine form, the history of burlesque and its global revival to the art form we know and love today. Tutor Bella Towse has worked for a certain Alexander McQueen amongst others, so you will certainly be in good hands!
so desire? This play sounds like a very worthy addition to the burlesque genre, I’m gonna get me a ticket, see you there!
For ticket information please refer to http:// www.uktw.co.uk/Tour/Musical/Miss-NightingaleThe-Burlesque-Musical/T0118059880/
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just nails it. We had such a good time hanging with him and shooting the shit and getting drunk and eating pizza. What was the reasoning behind going as a duo for the recording of the album following Count Elric’s departure? Without saying too much, we just ended up having a falling out with Elric and we needed to kick him out. When our personal friendships ended, so did his place in the band. Such a bummer, still to this day. We haven’t spoken in a while, although we did get a chance to see each other briefly and make amends. The whole situation was very personal. We decided to just go forward as a duo for the record. Krolg and I’s friend has always been the true foundation for the band. Without either him or I in the band, there wouldn’t be a PILGRIM. So, we felt it was only right to just do it the two of us. I played the bass on the record. Bradoc The Barbarian from Ice Dragon has been part of Pilgrim in a live setting – are there any plans to use him on future recordings? Probably, but we’re not sure if we’ll just continue recording as a duo or not at this point. Only time will tell, honestly. Do you feel that doom metal is the strongest genre of metal? Who would you recommend others should check out of the underground scene? Doom is definitely my personal favorite sub genre of metal, along with classic 90s black metal. I guess I just enjoy that the speed of the music makes it a bit more digestible. Plus I enjoy the subject matter greatly! I would recommend everyone check out Balam, Druglord, and The Wounded Kings. What albums have you been listening to recently – either during breaks in recording or on the road – can be classics or current? We listen to A LOT of great music while touring. I think some of the last few records I was listening to personally were “Too High to Die” by the Meat Puppets, “Pentastar” by Earth, “Slap Happy” by L7, and “Calling All Cars on the Vegas Strip” by Jucifer. What are the touring plans for the UK/Europe? We’re unsure about it at the moment, but we are planning on attempting to return by the fall or early winter at the latest.
Into The Void Matt Dawson talks to the vocalist/guitarist of Pilgrim – known by his moniker of The Wizard – about the preparations for worshipping the Void with their second album, how the dissolution with Count Elric happened and what the future holds for these bringers of doom metal. What would you say was the mindset when heading into the studio to record the new album? We wanted to one up our last record. We like our first record, but there was a lot about it that left us feeling like it wasn’t everything it could have been, like the production quality and the song writing specifically. We didn’t want to leave the studio feeling like we had failed. We took extra precautions to prevent that from happening (and luckily it ended up being exactly what we wanted.) What led to Mike being chosen as producer and the choice of studio? How was it working with Mike Moebius? We know Mike through our friends in NATUR. They had recorded their first record with him and we’re good friends with him, so they highly recommended him. He owns a studio out of Jersey City called Moonlight Mile Recording. When we got there, it was still a bit under construction, so it had this really bizarre, kinda cavernous and spooky feel to it. Working with him was a dream come true. He made our record into EXACTLY what we were looking for. He absolutely nailed it. He has this incredible knack for recording, it’s like no matter what you want to do he
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i d d E Rev s t e e m Originally on the top of The Reverend Eddi’s list for a live Shock Treatment special last year, it was great to finally get Pete Honkamaki from The Vibrators to appear on the show. Opening up with a classic Vibrators song, ‘Whips and Furs’, was the only suitable way to get things running. TBFM was then treated to some of Pete’s favourite tunes from his childhood, always intriguing to know where musicians come from musically and we weren’t disappointed with Hanoi, The Lords of the New Church and Stray Cats; all bands that sat well on a punk show.
TBFM was also spoiled with 2 songs from Pete’s previous band No Direction and what was dubbed the ‘Lost Demos’. Songs ‘One Day Week’ and ‘Riot Song’ certainly left The Rev reminiscing on what was a killer club band. No show could have gone without a mention of the sad passing of Scott Asheton from The Stooges. Shock Treatment, no doubt, would not be a show without the influence of him; the classic ‘Search and Destroy’ having more poignancy this night. We were also treated to an insight as to what is in Pete’s stereo right now with some more up to date choices, such as ‘Fema Camp’ from the latest Killing Joke album and ‘pilot Light’ from The Bronx and the Rev’s album of 2013. The show was a great chance to showcase last year’s Vibrators release ‘On The Guest List’ and three songs were aired. All great choices from Pete: ‘Long Beach Police’, ‘My Stalker’ and ‘View From My Cadillac’ highlighted that even after nearly forty years, this band still write great tunes. Collaborations with The Supersuckers, Walter Lure amongst others, only added punk rock goodness to some good songs. It was another fun show with two old pals sitting together and talking about their memories of music in true TBFM and Shock Treatment tradition. http://www.mixcloud.com/ReverendEddi/shocktreatment-on-the-guest-list-with-pete-from-thevibrators-special/
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Following our review of White Light Generator last issue Matt Dawson talks to Justin Greaves about Damnation, the world of record stores and the albums that were seminal to him Let’s begin by talking about late last year when you guys played Damnation Festival – how did you find the day went? It was great, it’s nice to play those type of gigs because that’s what I used to do many years ago [laughs] It was cool to be asked because I wasn’t sure we were the type that fits into that but we all like that sort of music. We had technical issues but apart from that I was surprised how well we went down. With White Light Generator CBP reach a decade as a band – how does it feel to reach that milestone? Pretty tiring to be honest [laughs]! It’s weird, sometimes it doesn’t feel like 10 years but I think because it’s what I do it doesn’t feel like work, time’s just flown by over how many years and god knows how many albums. It’s had its ups and downs but you can get quite contemplative, maybe because I’m getting older as well you get to a point where priorities change and you care more or less about different things but it is a nice place to be. In that case – what are your thoughts on social media? I’m a bit hesitant with all that. A lot of music has kind of lost its magic because –especially through social media – it’s too personal. The Internet is a great tool if used right, nowadays there’s good music but it’s hard to find because there’s so much and it’s not all great. You know too much about bands as well – to be honest I don’t care who’s playing it, I just like to listen to it .
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[Social media]’s a necessary evil but I refuse to just go along with it – you don’t HAVE to do everything because it’s new, it doesn’t mean it’s better. Back to the band – it’s been deemed a new chapter for CBP, what do you feel makes White Light Generator that exactly? Daniel [Anghede - vocalist] is the guy that should have been in the band in the first place. There’s certain things that have been nagging with the band that we’re brushing off and the other thing is that there were poisonous elements and weird things due to internal band politics but the sourness is just gone. For the first time in a long time I feel we’re in a good situation, musically some might argue it is the same, some might argue different but it was time to get our heads down, there doesn’t seem to be the kind of distractions we had in the past. The album is split into two halves – what led to splitting the album in that way and what was the mindset going in? As with every album I do I never preconceive the idea going in although the songs and themes are what I’m thinking about at the time, there’s always a common thread running through the album even though they’re not concept albums. It was just when we recorded this album I was thinking how it would work dynamically and nothing was working until I compiled the heavier, darker songs at the beginning and then the melancholic songs. Sonically it made sense then I already had the idea to call it White Light Generator – there’s always a dark side to what I do so then came black light/white
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Photo Will Ireland
light so thematically it made sense. Add a big element of luck too! Once it made sense it became more coherent. One of the tracks that fascinates me is the track titled _______. Why no name and what led to the concept? It was an original piece, I got a friend named Billy Clarke who was in a film called The Devil’s Business that I did the soundtrack for to record it – live spoken word instead of samples. It was almost going to be attached to one of the songs but then we realised it was its own thing. It just never had a title and when we did the album I thought it’d be cool for it to look like it had a title but had been redacted – self censoring kind of thing. What would you say is 1. Your favourite track and 2. The most personal? I have 2 favourites and they’re both personal – A Brighter Tomorrow because it’s a really sweet and positive message wrapped up in a melancholic, miserable sounding song but it’s all about a lot of love and looking forward in White Light, like the message of 4:44 – angels on shoulders
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- being that everything’s going to be all right. It was one of the songs I was really proud of writing. The other song is Northern Comfort – the song is about going home, I’ve just recently moved back up north into the village which I grew up, I left when I was 17, I’m in my mid 40’s now and it’s a great feeling to come back. What was it like working with Ewan Davies again and working in Chapel Studio? Ewan’s always a treat to work with, a lovely old miserable sod which helps when you’re good friends, you just find somebody that works really well with the same approach to it. Chapel’s an amazing place in the Lincolnshire countryside where there’s no distractions. A lot of recording studios sadly are disappearing so these old residential studios are needed. Now one of my favourite tracks by CBP is the cover of Journey’s Of A Lifetime because it wasn’t the obvious track to do… what led to that choice? People always go for the Steve Perry era and I consider it to be two different bands – the reason I chose to do that song in the first place is in 1976 my Dad opened his record shop and when he opened it that album had just come out – he used to sell loads of it because people would walk in and go ‘What the hell is that? It’s amazing!’ There’s a bit in Kohoutek where the drum roll pans from left to right in the speakers that was one of my earliest memories growing up in
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the record store and Of A Lifetime brings them back. What are your thoughts then on independent record stores now? Do you feel they could make a comeback? Wouldn’t it be nice? It’s like the old adage: You don’t know what you’ve got until it’s gone. My dad stayed open for 30 years until 2007 because of the supermarkets and the internet plus Scunthorpe town centre hasn’t done well in recent years so the shop couldn’t survive. I don’t think people realise how important the shops were: you have that personal touch, talk about albums. It was a network and a community. It’d be wonderful if they made a resurgence but I don’t see it happening any time soon. What bands did you listen to the most while growing up there? My earliest musical obsession was Adam And The Ants. I got into punk at a very early age – The Damned and things like that. I remember one day my Dad brought a box of vinyl to work through and it was all classic rock – Pink Floyd, Deep Purple, Led Zep and all that – it was great, on one hand I was going to punk gigs as a teenager and on the other hand listening to Pink Floyd. I’ve had that kind of crossover my whole life – when thrash and hardcore came along I grew up with that, probably why I played in so many of them! So what were the 3 seminal albums in your life? The most obvious influence is Pink Floyd and the Obscured by Clouds al-
Photo Will Ireland
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Photo Will Ireland
bum which is one that gets forgotten about. A No Means No album called Ron is an influence, any Motorhead albums, Swans, Townes Van Zandt and Johnny Cash. How does it feel to be touring in May? It’s always nice to go on tour – always nice to travel. Regarding festivals we’re playing one in Germany – in a cave- and one in Portugal in September. Europe is a different world than the UK – we’ve only done a few in the UK like Damnation. In Germany twice we’ve headlined one twice – Herzberg so it’s crazy different. As a rule though we’re not really a festival band. Playing in a cave? Balve Cave in Germany with a great band called Jane – German prog/ Kraut band. I name checked them once and two of them turned up at a Hanover show then they asked us to play this show which is amazing! What are your favourite albums then of the past year? New Model Army’s new one – Between Dog And Wolf. They’re the only band we’ve toured with and another influence. Whores – Clean, They sound like an old Amphetamine Reptile style band Beastmilk – It’s produced really nicely, sort of a nostalgia trip like Bauhaus but different at the same time.
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Once upon a time in Bristol... Sonic Shocks meets Francis Mace, the man behind the new sponsorless alternative Festival calling music fans from across the world
First of all, congratulations on the success of the first Temples festival! It’s doing really well, no complaints on this end! I know you’ve been promoting gigs before now in and around the Bristol area. How long have you been doing that? Since 2005/2006 when I started putting on low-key shows, around 175 capacity area and yeah it’s approaching 10 years now… I’m sure in that decade you’ve been thinking about getting a festival together, how long have you been thinking about it and how did you make it become a reality? I’ve been contemplating the idea for 2/3 years. I knew that if I wanted to progress from all dayers and weekend events then festivals was the next logical step so I had a rough idea of how I wanted to do it then about this time last year I put the plan into action. I only had a few shows in 2013 so I thought to put everything into that, pulled the rein on standalone shows and focused on Temples. The reality was getting in touch with the agents, the bands and solidifying the venue setup and whatnot. There’s no sponsors for the festival – isn’t money an issue with a project like this? It can be, as it’s done independently the only money that’s gone in is mine so it’s been a task re costs but totally manageable when done in the right way, fortunately for us ticket sales have been fantastic so we’ve been able to mediate some of the common problems that come up when running a festival and we’ve managed to execute it in quite an efficient fashion. Do you feel that Temples will be financially viable for you and are there plans to do it again however it goes? Absolutely, we’ve got where we wanted to be as a festival this year: we sold out of weekend tickets which is the breakeven point for us, and we’ve got the venue and 28 bands confirmed for 2015. From a financial/promoter’s perspective it’s always going to be a concern doing something like this when the overhead’s so vast as they are with Temples, but if you do it right and you’re confident in your own judgement, have due diligence so if things go wrong you can cover everything then go for it. This year
that’s paid off in leaps and bounds so all things considered we’re good to go. There are so many festivals these days – the feeling is there’s a new one popping up every week! How do you make sure yours stands out from the rest? The Temples line-up I curated first and foremost with bands that I’m into, that I listen to and feel enthusiastic enough and passionate to put my all into. What we’ve done with Temples is covered a lot of the spectrum in heavy music – crust, punk, hardcore alongside doom and industrial so I think we’ve managed to define our own bracket within heavy music and stand out based on the diversity of it. I agree with you that there are a lot of festivals this year and maybe the younger promoters should drop the word when they’re doing like a weekend event in a venue, the frequency can be a good and bad thing but in line with your question – a lot of them have similar bands, I think with Temples we’ve captured a lot of exclusives, a fair few bands you’ll want to see together and that’s established us quite a long way as a UK festival. How did the bands you contacted initially react? We had an overwhelmingly positive response from the get go and it was 100% down to the bands that were booked. The first ones booked stood out to everyone and the first one announced was Neurosis to headline the Saturday night. The strength of that one alone kind of made people stand attention to us a little bit. I think the work Jim – our illustrator and designer has done in branding the festival was strong and industry standard – we’ve been perceived alongside the major festivals now. It’s also the last UK show for Brutal Truth – how did that come about in convincing them to do Temples? Fortunately I didn’t have to convince them to do anything! I had spoken to their agent a while ago who said it wasn’t viable at the time then when Dan announced he was leaving the agent said the band were interested, we locked it down and announced it within a few days! How is the scene in Bristol? There’s a great subculture and heavy music scene, the city
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money away from sales. The industry is a choice of adapt or die. It’s more a natural growth and necessary for the industry to stay alive. Any more announcements we should look for? There is one at 11:15 4th May 2014 just before Clutch go on stage as a teaser for Temples 2015. Thank you to those that have bought tickets and are attending and to people like yourselves who are supporting the festival – it does mean a lot to us, the interest we’ve had is overwhelming and warmly received. ______________________________________________
Matt Dawson picks a few bands who – aside from the three headliners - you absolutely shouldn’t miss at Temples… One of the great things about Temples as mentioned in the interview is the diversity of the event itself – we start this selection with one of the most extreme bands on the bill in Anaal Nathrakh: Dave Hunt’s vitriolic vocals that can switch from the depths of hell to powerful singing coupled with a band that sound as evil incarnate is a good appetizer for the combo of Brutal Truth and Electric Wizard on the Friday. Speaking of Brutal Truth – make sure that you catch the LAST EVER UK PERFORMANCE before they call it quits in October. For the prog/metal crossover fans however Blood Ceremony will satisfy that appetite on the Friday – with songs that feel like a time warp of the 70’s scene complete with Jethro Tull style flute passages while mentioning Pagan rituals and the Wicker Man – what’s not to love? Conan are a band we’ve mentioned quite a fair bit at Sonic Shocks over the past few years and with good reason – their live show fucking destroys. The build up in each song before as a whole has a bohemian feel to it – a less condensed the eventual release of riffs mixed with the fast (by their version of London without the stress of the Tube – a re- standards) feel of ‘Foehammer’ make them one to watch. ally thriving artistic community. It’s good to do something Still relatively new on the scene, Beastmilk hark back to the like Temples here because firstly it’s my hometown, sec- post-punk sounds of the 80’s – if you’re a fan of bands such ondly the market for heavy music is really strong and the as Bauhaus this lot will suit you just fine and - as more bands right kind of bands would appeal to that base audience we start catering towards that era - you’ll be seeing them a fair bit over the next year. needed. Are you planning anything else to happen at the festival? Finally we get into the darkest recesses of the mind as I waited until the last minute intentionally but we’re going Dragged Into Sunlight do a rare UK festival show – shroudto have an after party and we might do a pre-party on the ed in mystery onstage and with songs that pour out nihilism Thursday but I wanted to wait until the last minute be- with samples of serial killers resonating throughout it’s curicause I wanted to see where we were at from a production ous to see what new material, if any, gets played that will standpoint and the workload I had to deal with as we ap- follow the incredible Widowmaker album. proach the festival. We put plans in place to do one after Clutch on the Sunday night. You have people travelling from different countries to Temples – which I think is proof of how unique it is – any plans for events abroad? No. I don’t think that’s an option at this stage, the fact people travel to come here speaks volumes in itself so from my perspective if we have people next year then that says a lot, when we start losing those ticket orders then maybe it’s time to redress the balance. With record sales down again how do you feel music has been affected over the last decade? I think the changes are for a good cause – music is adapting as the world is. We live in an age where people communicate so freely - as record sales diminish, streaming’s gone up so there are other areas that artists can make
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The follow up to Black Waltz is not out until May 16th, but we’ve been lucky enough to have a little preview and a chat with Johannes and John of Swedish hellraisers Avatar, the day after their triumphant performance at Camden’s legendary Barfly… So you’ve been playing a few dates in the UK including the Barfly? How’s that been going for you? Johannes: Barfly was amazing, sold out with an enthusiastic and great audience. It’s a small place so the mosh pit was one of the biggest I’ve seen – half the room! Your new album ‘Hail The Apocalypse’ is coming out in May – how much of your set features songs from it? John: We’ve done 2 songs on this run, when we did the Avenged Sevenfold tour we gave people a sneak peek at one song and since the title track’s video is out [Hail The Apocalypse] we’ve been playing that too. You self-produce your videos – how was it making this one? Johannes: It’s painful – the most being figuring out what we want to do and it’s the pressure we put on ourselves since we like to stay in the driver’s seat of all aspects, grinding 9 hour meetings day in and day out, writing ideas and throwing them into the paper bin. John came up with the idea of a silent movie to our guy we work with, it clicked immediately and we got it up and running – a silent movie/farce version of the world coming to an abrupt end! You also had a video released to a song based on a Starcraft character – how did you feel being noticed by Blizzard and did you gain any new fans? Johannes: Well it was 4 years ago so it’s a bit in the past but at the time it was fun! The music video though was pre us doing particular interesting music videos. It was that it got attention, it was based on the idea that, in metal people gather towards different sorts of mythology so it was funny that it could be sung about in a video game that I played when I was 14. It has the perfect imagery that we wanted to achieve. Since then we’ve done videos that get deep into the show aspects of our band. The tour with Avenged Sevenfold gained you a new fan base as well… We were able to reawaken Europe’s interest in us, we had been stuck – if you will – for some time in Scandinavia and the USA in recent years so we finally got to make a statement for the European audiences. Already you have invitations to do Rock On The Range, Download AND Bloodstock – how does that feel and are there plans for a headlining tour as well? We’re doing these dates, take a few weeks off then doing the continent of Europe before the USA. We’re hoping to tour more extensively here this autumn. Any more festivals lined up? Sadly no. They’re booked pretty early on so we’re focusing on the ones we have. How do you feel from Black Waltz to Hail The Apocalypse that the band has matured? It’s a continuation of what we discovered with Black Waltz. With that album we found our own musical path in a way that we hadn’t nailed before and is our own, we’re continuing to explore our path in this one and taking to bigger extremes when it comes to the dynamics of the album. Where was the point you’d felt you had found your own sound? We’re rooted in extreme metal and we started as a death metal band combined with melodic stuff, that was our common ground. Over the years we’ve got better – first as musicians then with communicating with other musicians – so it’s become groove orientated over the years. The process has become more dynamic… Exactly. We started more individually then the end result is always a group effort – we reach the point where we don’t really know who wrote what. So everyone’s equally involved in the process? It depends from song to song – some people put more in than others on certain aspects but we don’t release a song that not all 5 can stand behind. What songs do you consider personal on this album? I consider the whole album to be personal – it always has to be, I wouldn’t have an interest releasing something that didn’t have significance, I know it’s a cliché answer but: all of the above! You’ve been defined as a mix between Rammstein, Alice Cooper and System Of A Down – do you agree? One thing I like about that description is it doesn’t really make sense [laughs], it forces people to try and find out for themselves. Our music is playful, groove orientated and has that distinct beat, I guess that’s what ties it together although I don’t think so. I don’t mind the description as it might get people interested. You’re a very visual band – where did you get the inspiration for your image? What happened was we did the music video for Black Waltz and we got the opportunity to speak with these sideshow/freakshow people and we
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Photo Stefan Schipper wanted to make me fit in with the song/video concepts but once we got that far something clicked – we’ve found a way to visualise our music. What’s the next step for Avatar? John: World Domination! Johannes: We feel like we’ve got a good setup and opportunity to really show people what we’re all about, we just want to get out on the road because this music is written to be performed live. It’s all connected – I prefer being live but I enjoy what we get out of the studio. You went to Thailand to record the album as well. Our producer moved there so we followed him! The meat of the album was recorded live and it felt healthy to change environment, puts you more on edge. Was that your first time in Thailand? Yes. We didn’t really feel we saw it though because we isolated ourselves in Pattaya which was a tourist trap and a place that inspired the misanthropic side of the album. We wouldn’t mind playing more of Asia though, our assistant engineer talked about us doing more club shows over there. What about Japan? This might be the album that gets people’s attention over there – hopes and dreams! Any special versions of the album planned? Vinyl’s planned and there’s physical, most people will stream it anyway because it’s 2014. Nowadays with social media what’s the nicest thing you’ve been told? It was via email actually – a 15 year old boy that is struggling with schizophrenia drew a painting of me and wrote about what our music has meant to him in his struggle with that mental process and his healing process. When you play that kind of role in a stranger’s life that’s really powerful so the nicest thing I hear is when it means something on a higher level. What’s the next single planned? Blood Angel. Since we do it ourselves it’s rewarding but very tedious process. If we could I’d like to make a video for each song. Ever thought of a concept album with a full video story to go with it? Yes but I don’t think we’re ready mentally and physically, we will do one at some point. Is there anything else you’d like to say in regards as to why people should get the new album? I don’t think people have heard anything quite like it. What we’re aspiring to do is metal that has relevancy and urgency as it was but we’re not a retro band, we don’t want to sound like Judas Priest but do something that means as much. We’re not interested in being copycats so we achieve to make something that’s new. You always get sparks of innovation followed by clones – we plan to be a spark. We are ever changing and aren’t interested in repeating ourselves.
April 2014
The mind blowing energy exuding from the stage can hardly be contained by the humble room Upstairs at the Garage – and same goes for the crowd. LIFE are not headlining tonight, but it’s clearly just a matter of time, as they shake and dominate the audience with their modern Sex Pistols type swagger. You would be forgiven for thinking they were born and bred on stage, landing here after years of sweaty, raw performances; as we kidnap Mez and Rich for a chat, however, we’re in for a shocker… So how long have you guys been together? Mez: Since about the summer we started gigging properly so from August – half a year. Wow! Is it a chemistry you found straight away? Mez: We’re the best of friends, it was never to do with chemistry, just getting up on stage and doing it really. You mentioned you started doing gigs properly for half a year… Mez: Some of us have been in bands before, me and Rich were in the same band. This is a new chapter, we’ve got my brother Mick on guitar then we’ve got Loz one of my best mates on bass. It’s just felt from the off we’re on the go all the time. Do you guys have all the same influences? Mez: Overall – probably but a lot of us listen to different things. We try to keep current which is important for any new band because if you’re not listening to what else is out there then you don’t know what you’re competing against. We all like the 70’s punk then me and Rich like the 80’s synthy stuff as well – compressed drums with Kavinsky and stuff like that. Generally we all look at the same blueprint when we’re recording – 2 chord punk with a big chorus!
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Rich: It’s working for us anyway. Ramones style? Mez: Yeah, Ramones, Clash, Richard Hell. Anything that’s just like ‘there you go – done!’ How’s the song writing process? Rich: It’s like a collective effort – we’ll each get different parts of the song and bring it into the studio. Mez: There’s no one single writer – I’ll do the lyrics or Mick will do the guitar. I could never write the drums Rich comes up with or playing the bass lines Loz does. We all do it in the studio together, we’ve always done it like that and it works the best because we’re all happy with the song, there’s no one commander. Since you started last summer how many gigs do you think you’ve done? Mez: Before Christmas it was about 10. Rich: We’ve done about 20. Mez: A lot are in London but I think you have to in your initial period so you get the backing. Rich: We’ll try and go to as many places as we can. Mez: Last year when we started we tried to do as deliberately less as we could, the main thing is we need to keep gigging or we get bored or at work! You guys are from Yorkshire, are you still based there? Mez: We’re from a little town called Hull at the bottom of the Humber Estuary, we live, work, sleep, eat there. You guys had a single out right? Mez: Money/Crawling – double A side, you can find it on iTunes and on birthdayrecords.co.uk – limited edition vinyl along with the first single I Wanna Forget - as well as our own site www.lifeband.co.uk Have you got enough material for an album? Rich: That’s what we’re working towards – getting all the songs together, we’re looking forward to it.
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Mez: That’s our main focus – getting a body of work that represents 4 guys from Hull trying to be a band. Is it going to be difficult trying to put it together? Rich: I wouldn’t say so. We’re writing like there’s no tomorrow. Mez: We want the record to sound like one song – no one skips a track, we want it to be a body of work. Any idea of when it’ll be ready? Mez: It’s not up to us really [laughs]. Give us 2 months solid in the studio and we’ll have the best body of work, it feels like we need to capture it now so this year, soon hopefully. Any festivals planned? Mez: We’ve got In The City type ones – Liverpool Sound City, The Great Escape. We’re looking for some of the ones like Reading and Y-Not as well. Rich: We thrive on festivals. Which one would you like the most? Mez: Glastonbury if anyone sees this! We’ve always enjoyed Leeds and Reading as well. How would YOU describe your live shows? Mez: Sometimes you see a band on stage that are too self aware, we try not to worry about that and just bring it back to what bands used to be. If a string snaps or a lead cuts out it doesn’t matter, we’re just here to have fun. It’s all about the show – people are coming to pay to watch something happen, just don’t be pretentious and represent the sound you’ve got. I hate to be the one breaking it to you, but did anyone told you that you’re probably not going to make any money out of this? Mez: Money means nowt really, none of us have money, we’ve held down jobs for 7 years since college, we just want to be on stage. We’re not doing it for the money – though if anyone’s got any [laughs] – we’re just doing it because we like to do it at the end of the day. Free beer helps though! Free beer always helps! Aside from the bar, where do you want to take this band? Mez: All we want is for people to like us! That’s really sweet! Mez: If people come down to see you at £7/8 for a gig especially down south that means a lot. That’s a better feeling – I’m not Harry Styles or something! Thank God for that! So where can we see you next? Mez: In May we’ll be at all the showcases – a London show in late April. Aside from free beer – best/worst thing about being on the road? Rich: The camaraderie in the band. Mez: What people don’t realise is a lot of gigging is time doing nothing, being together then going on stage is the bonus point! Any words for present and future fans? Mez: To present – thank you. To futureHello, how are you? Check us out!
April 2014
As they’re busy getting ready for their UK tour in April, drummer Dave Sanders answers our questions on their latest album Empire of the Damned, Crue, booze, ink and more general sleaziness as we’ve come to expect. Check the eyeliner levels and make sure you catch them live, full dates on www.falling-red. com! Hi Guys, Thank for taking the time to answer a few questions for Sonic Shocks. Let’s start by introducing yourselves... Rozey – Vocals/Lead Guitar Dave Sanders – Drums Jayde Starr – Guitar Mikey Lawless - Bass What would you say has been the biggest influence in deciding your sound and your dress sense? How would you describe your ‘style’? Over the years we have been described as many things: Hard Rock, Heavy metal, glam, sleaze, AOR but when we released Empire of the Damned a review hailed us Post Sleaze Metal, we loved that so that’s what we’re going with. As far as influences go FR is made up of 4 members with such varied music tastes and styles so our influences run from blues to Black metal and everything in between, keeping an open mind to music helps when writing songs as you can pull in different styles without pigeon holing yourself. What’s your take on being hailed as ‘heirs apparent to the Motley crue kings of sleaze’? That is a huge compliment to us with us all being huge Motley Crue fans, Just need to get some bigger stages, huge pyro and a blood cannon, I’d love a blood cannon!! You toured with Steel Panther in 2012. What was it like? What did you take out of it?
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That tour went above and beyond every expectation we ever had, the Steel Panther guys and their crew looked after us beyond belief, the guys watched us side stage every night and partied with us on our days off. The biggest fear going into a tour like that is that you will be treated like a support band, be ignored and get no interaction with the headliner but those guys we’re amazing!! That tour has pushed us to put more in to our live show as SP were great to watch every night. You have also toured extensively in the past 7 years, which band have you enjoyed the most sharing a stage with? Any anecdotes our sleazy audience would love to hear? Steel Panther was incredible but one of the tours we enjoyed the most was with Dirty Penny from the USA, we spent 2 weeks living in each others pockets, we travelled together, partied together and crashed together, those guys we’re a pleasure to be with every day and night and a fantastic live band, just a shame they split up not long after their follow up European tour. We played in Belgium on our first ever jaunt into Europe and those guys know how to party and look after a band. After 3 days of drinking we landed at De Rots, we played and throughout the set we were plied with booze and shots, needless to say we finished, we packed up and the drink kept flowing. I think we all have memory of about 1 hour after the show and then it gets fuzzy, I woke up the next morning in a black room not seeing anything and with a bad back to then be told I’d stage dived twice air guitaring in the after party, into an area where no one was stood and we found Shane(Ex Guitarist) in our van outside with the alarm screaming away and him not being able to walk ha ha we then proceeded to head to a local tattoo shop and spend the day with us all getting fresh ink!! J Your previous albums received high accolade from Bruce Dickinson to Malcolm Dome. What did it feel like? The fact they both liked it was incredible but the thing that made me happiest is that Bruce Dickinson chose to play an
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album track we had never released, so he had taken the time to listen the album through and pick his favourite track which was a great honour for us. What made you decide to use Pledge Music for your sophomore album ‘Empire Of The Damned’? How did it benefit your fans? Did it meet or even exceed your expectations? FR has always had a good supportive fan base of fans who will travel end to end of the country to see us so we thought what better way to have them involved than to do a pledge campaign. We smashed through our target within a week and it gave us the opportunity to give something back to the fans, exclusives that only pledgers received, it meant that instead of just turning up at a show and buying the CD they were part of the experience from day 1. Rick Rubin is well known for encouraging artist to genre -bend ( ZZTop covering ‘25 lighters’ by DJ DMD for example) so if he decided to produce it for you, what would you choose? I think if Rozey got his was we would be covering Pump up the Jam by Technotronic What’s in store for 2014? Already this year we have released the finished Empire of the Damned upon the world, as of April we head off round the UK, Europe and Scandinavia on our Tour of the Damned to promote the album and then do it all again in September If the world were to end tomorrow, what would be your last actions? Hmm I think I would just try and see or speak to everyone I hold close and dear to me. It’s the last time you may get to say something you’ve always wanted to say to them as well as give everyone a hug good bye! You have already come a long way but what is your ULTIMATE goal, ambition or vision? Make some money, make a career and play all over the world, we wanna get to everyone who follows the band wherever they are, to be able to thank them for their support in person would be the ultimate goal.
April 2014
Described as alternative rock with influences ranging from Foo Fighters to the Beatles, The Cringe are not new to our music lovers in the US: after relentless touring, they’re about to release their fourth album ‘Hiding in Plain Sight’, and this time they have their eyes on the old continent. We meet lead guitarist James Rotondi and bassist Jonny Matias as they get ready for the final date of their very first UK tour, as the unlikely opening act for rock’n’roll comedy stars Steel Panther. So guys, this is your debut in the UK but your next album ‘Hiding in Plain Sight’ is your fourth… Pun intended? What took you so long and where have you been hiding? James: Well we’ve been hiding in the US in a way, the reason we called the album that – despite the fact we like the phrase – is that we’ve been touring for 7 years, we’ve had radio play and yet sometimes we’ve felt like we’re under the radar, people and the industry know we’re out there but as far as the UK I think we were looking at the right opportunity as well, you need the resources to come here, a bit of traction so it took us a little while but we’re here and we’re loving it! Why did you feel the right opportunity was touring with Steel Panther? Jonny: We had some connections with the band and we had opened for Steel Panther in LA last autumn and really enjoyed it. I know it seems to some like an odd pairing but it works really well – they’ll call us alternative but we’re very much a Classic Rock band, we’re into Sabbath and Led Zeppelin, a lot of classic stuff. We’re denim and leather while Steel Panther are spandex and leather! James: Musically it’s not miles away, we love Van Halen too! Steel Panther aside, what made you guys
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think this was the right time to crack the UK market? James: I don’t know if anything’s changed, we feel the music is better and we’ve added more Hammond B3 organ, our sound’s moved towards a heavy Deep Purple direction. If anything our sound got heavier – less alternative grunge, more 70’s heavy rock plus we woke up one morning and REALLY wanted a full English breakfast! (all laugh) Are we able to get your past albums easily now? James: I don’t know how the on the street retail distribution is, but they are through digital channels and I do know that this one IS going to be in stores. As far as our previous records – perhaps the demand will get them released. No more hiding! James: No more hiding. We’re tired of hiding! What would you say are your main influences? James: It’s different for every guy in the band. Jonny: I come from a sensitive singer-songwriter vibe, power pop and classic bands. James: You also grew up on Guns ‘N’ Roses and Jimmy Eat World. My influences are King Crimson and Deep Purple, I like heavy progressive rock a lot – state of the art metal. Our Drummer Sean has played in a lot of RnB and jazz, he plays drums in the style of Ian Pace from Deep Purple… Jonny: Ginger Baker. [Everyone laughs - there’s apparently an internal joke going on about Ginger Baker…] James: JC (lead singer John Cusimano) is the heart of the band – he’s into The Who, Husker Du, Pearl Jam and stuff like that. I like to think though that The Cringe’s sound is very together, not some oddball thing, it’s pretty well digested. How long did it take for you to feel you had your own sound? James: I don’t think it took long, we really felt as soon
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Photo Leslie Van Stelten
as we started playing we weren’t copying anybody, we’ve all played before as experienced musicians and we do other projects as well. We came together and felt we were fairly developed as musicians so the sound came together fairly quickly. Describe it in one sentence. James: Melodic macho rock with a sensitive heart! What can we expect from a Cringe show? James: The show is very energetic but we like to think fairly focused, sharp and on point. Delivering a good show musically is just as important. JC LOVES to crowd surf, he loves to be with people and be a part of it all. We like showmanship in rock but we don’t want to sacrifice solid heavy playing. How’s the tour gone so far? Jonny: I think it’s been great, the crowd have been receptive even though it’s not the most likely pairing. James: We feel like we didn’t come so much feeling we had to make people love us, just earn their respect as a band; if we achieve that plus some entertainment that’s great. Steel Panther put on one of the greatest live shows I’ve ever seen, we’re not going head to head with that. Do you get to share the groupies at the end? James: There’s a saying: You must render unto Caesar what is Caesar’s! You guys have played with the New York Dolls – are they one of your influences? James: Yeah – in a weird way I think they are, there are some we come together on – glam rock is one of them. The same month your album comes out is the anniversary of Johnny Thunders’ death – if you could dedicate one song to him what would it be? James: We Gotta Find A Way, it has a bit of fast [exaggerates accent] New York rock’. His spirit is alive in the band and very much in New York. Anything else you’d like to say? James: We’d really like to thank the UK audiences for being supportive and giving us a chance to share our music and spirit with them, we had a great time!
April 2014
Sonic Shocks - Issue 23
BIG BAD WOLVES (110 mins)
Metrodome - Release date 28th April
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THE STRANGE COLOUR OF YOUR BODY’S TEARS (102 mins)
Directors: Aharon Keshales, Navot Papushado Starring: Lior Ashkenazi, Rotem Keinan, Tzahi Grad Here comes a rare, underrated piece of foreign cinema worth putting up with subtitles for. Gripping and viciously vibrant from beginning to end, anyway, would be effortless to follow even without understanding a single word. It all starts with a paedophile serial killer who makes Dexter’s Trinity look like a shoplifting schoolgirl, a prime suspect that can’t be nailed and some ruthless cops. We’re in Israel. The main heavy handed cop (now suspended) and the father of the latest headless victim, decide to take the law - and the suspect in their own hands. What follows is as sadistic as Saw and as full of proper twists as The Usual Suspects, with the dark humour of Tarantino and a level of sickness rarely encountered before. Between thrill, suspense, gore and compelling action, lies the sickening portrait Metrodome - Release date 11th April of a society that justifies everything in the name of children’s safety; as the credit rolls, the doubt that such measures might actually be right slaps you hard in the Directors: Bruno Forzani, Hélène Cattet face, while you question what really constitutes insanity. Starring: Klaus Tange, Sam LouExquisitely made to the last detail and performed with wit and character, Big wyck, Manon Beuchot, Delphine Brual Bad Wolves churns your stomach in more ways than one. Deep below the shallow horrors of physical torture, hides the way more terrifying reality of human darkness. And the Arab on his horse, so intimidating simply for being different, is A man comes back from a business trip to after all the only sane decent human in this twisted, haunting tale. find his wife has mysteriously disappeared. Other than the plot here is pretty much left to the viewer’s imagination. The Strange 13 SINS (92 mins) Colour doesn’t narrate a story: it supplies Release date 18th April 2014 you with a canvas which is everything but white, soaked in deep, dark vivid colours; Directors: Daniel Stamm an abstract pattern so intricate that could Starring: Mark Webber, Ron Perlman, make David Lynch look like Simon Pegg.
Rutina Wesley
Not the most original of movies, but in a time where we’re all living – consciously or not – under the Damocle’s sword of debt, you can’t help but wonder what you would do in Mark Webber’s shoes. How far would you go for a clean slate? Webber plays Elliot, a failed insurance salesman in financial trouble. Too honest for the job, he gets fired while girlfriend, brother and father count on him for support. As worries and responsibilities are about to crush him, he gets a mysterious phone call inviting him to ‘the Game’. A series of 13 challenges begins with killing a fly and spirals into a crescendo of cruel dares; completing them is winning the jackpot, giving up means losing all he’s already earned. As Elliot gets sucked into the game, a repressed dark side of his personality emerges albeit briefly, making you wonder if it’s really just about the money after all. The script won’t win an award anytime soon, but 13 Sins offers strong enough performances from Webber and Perlman, while True Blood’s Tara surprises with her ‘totally sensible’ girlfriend character. Easily watchable and open to franchise if a large enough audience can be bothered with a new take on Saw.
The visual and sounds are overpowering, captivating the viewer like a tape from The Ring, if you can get over the initial confusion and abandon yourself in its surreal Kubrick-esque universe. Don’t try to make sense of it, don’t wrestle with it: just get lost in the details, its powerful mixture of colour and monochrome, the annihilating pace, the feathered line between fantasy and reality - and maybe an alcohol issue. Is the killer hiding between the walls of the building or those of the mind? Come to think - ‘Another Creep In The Wall’ could have made a cooler English title. As ‘Strange Colour’ comes to a closing, more random revelations and twists make you wonder if there was indeed a sense somewhere and press play again. Disturbing and darkly addictive.
April 2014
This article is dedicated to the 25 people whose lives were forever changed last week, 3 of whom were killed by the stupidity of 1 drunken fool. Jamie Ranae West, Steven Craenmehr and Sandy Thuy Le, I know you three are hearing music like nothing ever heard before. Rest In Peace my fellow music lovers. Here’s the story/recap of my 5 days and 5 nights of the insanity known simply as SX by us Austinites. For the 26th edition of the 10 day festival, with roughly 300,000 in attendance, the ATX was a little crazy. Of course we all know I love crazy... I do not have a wristband or a fancy badge; don’t need ‘em. I am one of those who believe SX should be (as it once was) all about new artists, struggling musicians and the street performers trying to get their name out there-showcasing NEW talent; not about Lady Gaga, Kanye, Jay Z and the countless other “hash tagged out” celebrity A-listers, and damn sure not Justin Bieber. You have the spotlight on you all over the world, leave this festival alone, dammit. I notice right away that this year, Tuesday is a lot more crowded than previous years. Usually everyone is getting set up and not much is going on down 6th and the surrounding downtown area. Not this year, it was in full swing by mid-afternoon. Bryson (my 17 year old musician son and assistant this year) and I happen to walk into the Mohawk House of Vans venue (#livingoff-
thewall). There is a tiny stage with some long haired boys rigging up so we grab a bench next to the half pipe (it IS the House of VANS) and wait. I am so glad we did. This band was not scheduled to play, they just went up and asked the head dude in charge and got lucky. Actually we all got lucky. THE MONTAUK PROJECT introduced themselves and I was blown away from the first note out off Jack Marshall’s mouth. This very set was enough to earn this band my “best of the unknowns of SXSW” award. These boys like most artists that play SX funded their own trip to Austin, slept on a friend’s floor and blew these big “headliners” away. Their music sounds like a blend of Layne Staley and Travis Meeks along with the sounds of Black Sabbath and The Doors (crazy, I know) thrown in there. There were guitar solos in every song, which are a must have for me, and vocals that gave me chills. The sound guy kept asking them to sing another, then an-
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other, then one more. Everyone loved t h e m . They gave me their CD and I literally have not stopped playing it. Please give these New Yorkers a listen. The “Street Performers” were Bryson’s favorite part of SX. Some artists really took advantage of the exposure and took their songs to the streets. Yes, some had official showcases, but that didn’t stop them from standing on a corner and giving free shows to the masses. These are the people that I want to hear, the ones that truly want to be heard…by everyone. RAZ SIMONE was one of these artists. Raz is a hip-hop artist from Seattle, Washington. He started out by writing poetry then progressed to rapping. I watched 2 separate street performances of his and he amassed a huge crowd at each one. He spoke of the struggles of life and love as do many. Reminded me a little of Tupac. He laid his heart and soul out onto 6th Street for those who cared enough to really listen. One of my favorite street performances was from a group of 3. Banjo, mando-
lin and fiddle. Real old time sounding. Sang something like…”come on down to the house.” Their voices were not great, the playing was not phenomenal but the vibe y’all, the VIBE! Come to find out the fiddle player just walked up and joined in. He had never even met the other 2. Impromptu jams = awesome. Down the road at one of the food trailer areas were 2 dudes. One on a tiny drum kit and the other with an electric guitar. Mr. Guitar Player was giving it hell. I stopped
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in my tracks when he dropped to his knees and started playing the guitar with his mouth. Well that was cool… then he lays his guitar on the pavement and starts pouring lighter fluid on it and fires it up! His hand then goes to his belt buckle…I was thinking oh hells bells, this man is going to piss on this flaming guitar
right here in front of God and everybody. Instead he whips his belt off and beats the fire out. Sheesh. You never know guys, this is Austin after all. Afterwards Bryson looks at me and says, “man I thought that dude was gonna piss on his own guitar”. Pretty sure everyone else standing there was feeling the same relief we were at the end of that stunt. Charles Rangel…wow. The man who looks eerily like Johnny Depp in Willy Wonka. He made the most beautiful, hypnotizing music by playing an acoustic guitar lain across his lap. He was out somewhere on the street every day AND night, was literally the first and the last performance I saw this year. The last time I saw him on the way out Saturday night a tiny, very pretty, almost fairylike barefoot girl picked up her
lighted hula hoop and danced perfectly in sync while he played. It was so mesmer-
April 2014
izing; we found it really hard to walk away. Y’all have got to realize that everywhere you look there is something to see. I mean really SOMETHING to see. A werewolf
playing the violin. Robots. Practically naked men that will literally pick you up off of your feet and spin you around. Circles of homeless street people sitting on the sidewalk just enjoying the music. Rappers with chains of gold dripping off of them. Signs advertising “FREE HUGS” from Austin’s own award winning band Quiet Company. (Yes, I sure did get my hug) Big, hairy, manly Scottish men in kilts. Lots of hippies, not to EVER be confused with Austin’s overpopulation of hipsters. I caught the very end of a band called Mike Mains & the Branches. These guys (and gals) are so talented. Husband and wife playing together = a dream right? Well, maybe. They were a little reminiscent of Modest Mouse and perhaps some Third Eye Blind. Right?? I know!! I really wish I would have caught the complete set. Tiny bar, band in a corner, music lovers smashed in like sardines standing about 2 feet from the musicians. Best way to connect with your fans I would think. I loved it. While walking down 6th you hear music of all types coming from every direction. What is that I just heard? Hendrix? I dive into the Bat Bar to catch the last (I know y’all, damn last again) song of Red Lady Band. Dan and Amanda formed the band in Gunnison, Colorado and came to Austin because…well you know WHY people come to Austin…the music and because it’s fucking awesome… and found Christina in Antone’s. Antone’s, man that is another whole article in itself. Legendary. I see good things for this trio. My colleague and friend Steve is going to tell you all about the phenomenal Jimi Hendrix celebration so I won’t go into a bunch of detail but I will tell you my friend Dug Pinnick from Kings X and KXM, did Jimi and his family mighty proud. I got to tell Dug how much we loved the performance the next day when we had lunch with him and hung out at the Rock Fest stage that night. I love my adopted family of musicians. They truly complete me. So, the Rock Fest stage was a happening place Friday night. Two stages sat side by side. There was never a lull in the music. As soon as one band finished their set the
Sonic Shocks - Issue 23
other stages occupants commenced the rockin’! Gang of Thieves was some cool looking dudes. I don’t care what kind of music you play it just looks cooler when you have dreads flying all around your head while performing. You could tell they were thrilled to be onstage. Lead vocalist Michael Reit also plays the electric violin like a pro. These rockers raised over 10,000 dollars in a Kickstarter campaign to fund their new album “Thunderfunk” and I cannot think of a better word to describe their style. Thunderfunk. They definitely delivered the funk and it was bad ass! I must say we ended the festival on a high note. We had been rocking out at the Rock Fest Stage for most of the afternoon when we decided to take a little stroll across the street and check out some brand new Lamborghinis that were surrounded by fearsome looking rap stars. I am snapping a picture of this bad ass sports car when all of the sudden a little old man with skin the color of melted caramel and the iciest blue eyes I have ever seen asks me to sit on the car. What? Sit my ass, in jeans with a belt on this brand new, black, shiny $500,000 car? I’m freaking out, telling him no. He takes me by my hand and helps me up onto the back of this car. Next thing I know one of the rappers has Bryson sitting on the other side. Me and B are looking at each other confused, excited and snapping pics of each other and this scene as fast as we can. I am then instructed to sit
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in the driver’s seat of the now running car. Holy shit. Ok. Rappers on the hood, me in the driver’s seat with my Rob Zombie shirt on, Bryson on the back looking like a young Axl Rose. We are making a video. Yup, rockers in the rap video. Klik Klak Music. Check ‘em out. Racial diversity. I’m going with we were the complete opposite of rap style and the coolest looking people downtown so of course they picked us. SXSW is such a mammoth event that it is impossible for me to paint you an accurate picture. I’ve done my best to give you a glimpse through my eyes and ears but that my friend is just a teeny, tiny little piece. There is so, so much more. If you are a true fan of music and artistry you need to start making plans to attend SXSW 2015. Book your hotel now because they will go fast. Take the whole week off, bring your favorite concert shirts and hangover remedies and get ready to have the time of your life. Maybe I will even show you the cool places if you ask nice and buy me a beer. Till next year… Your eyes and ears in Austin, Denise
Jimi Hendrix Tribute Concert gets “Stamp” of Approval In the wake of three deaths at Austin, Texas’ South by Southwest (SXSW) festivities, numerous artists paid tribute to the greatest guitarist who ever lived and would be memorialized on this night with a forever stamp by the U.S. Postal Service. Hendrix’s sister, Janie opened the tribute concert with some very moving words about her entire family and numerous “thank you’s.” Event coordinator and MC5 guitarist Wayne Kramer then commented on his times sharing the stage with the legend as an “unbelievable experience” and that he “missed Jimi so much.” The concert began with country artist Lucinda Williams performing a remarkable rendition of Angel. Dave Alvin then took the stage and performed an Americana version of Hear My Train a-Comin’. Alvin was joined on the stage by his brother Phil for Howlin’ Wolf’s Killing Floor, popularized by Jimi and Led Zeppelin in the late-1960s. Next, King’s X and KXM frontman and bassist, dUg Pinnick took the stage for outstanding renditions of Voodoo Chile and Manic Depression. Mary Bridget Davies, who performs the role of Janis Joplin in the Broadway play, “A Night with Janis Joplin” kicked in the door and dealt the most soulful vocals of the night when she performed Wind Cries Mary. Several artists took the stage and out came Robby Krieger from The Doors. Krieger made sure to introduce Davies to the SXSW attendees and paid a little tribute to his fallen comrades: Janis, Jim Morrison, Ray Manzarek and Jimi. He then assumed guitar duties and Davies again wowed the crowd with a version of Hey Joe that sent goose bumps down my arms in delight. A bit later, Slash stepped on stage and received the warmest welcome from the SXSW audience. He joined Krieger and Davies on stage for a dueling guitar spectacle on Red House. It was such a pleasure watching these two Rock and Roll Hall of Famers trade licks. Vintage Trouble singer, Ty Taylor joined everyone on stage for Fire and Pinnick came out again to provide vocals and bass work on Purple Haze. What’s a SXSW event without a special guest appearance? Dull…Chino Moreno, vocalist for the metal band Deftones arrived on stage to rousing applause and performed Foxy Lady, then disappeared as the ensemble tore into the final song of the night; a phenomenal version of Bob Dylan’s All Along the Watchtower, made popular by Hendrix. The entire event was very classy, joyous, well-done and filled with love. I’m sure that although Hendrix left this world in September 1970, he was smiling down upon Austin on this chilly, late winter’s night and gave the event his stamp of approval. 4 out of 5 Hairy Tacos.
Sonic Shocks - Issue 23
April 2014
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ALBUM REVIEWS TIN SOLDIERS The Protester
STEEL PANTHER All You Can Eat
Golden State Division
28th April – Broken Star Media
1st April –Open E Records
31st March - State Champ Records
Tin Soldiers release their 2nd full length album ‘The Protester’ on 28th April through Broken Star Media and frack’ me it’s a stunner. Opening track ‘Miles Away’ lulls you in with a staccato military drum beat, leads you on with its tempestuous guitars and sucker-punches you with lead singer Rich Crossinghams sombre, emotive vocals. It’s a great opening track. Worth the price of admission alone some would say. then it gets better. Oh my does it get better. Title track ‘The Protester’ hits you where it hurts and doesn’t let up. Crashing guitars, tight vocal melodies, it all just works. And it works really well. ‘Take Back the Streets’ is a standout track for me. Worthy of all the air time it can get, its aggressive, raw, emotive and you feel the band really give a damn about you, themselves and the message they want to get across. ‘Falling’ kicks it up a gear and gives you the impression that this band will be at their best live, with a mosh pit and free-flowing beer. I can’t wait. ‘We wanted to write and play music that meant something,’ singer-guitarist Rich Crossingham says of their creative motivations. ‘We wanted to write something that was a little bit different to another song about boy loves girl – something that was right for the time and that was passionate about a theme’. With ‘The Protester’ Tin Soldiers have succeeded in doing just that, writing an album that’s right for our times and gives it both barrels on the passion. Outstanding.
I’ve been trying to find something smart to say about Steel Panther’s new masterpiece ‘All You Can Eat’, then I felt a bit like Golden Girl Rose. It’s Steel Panther for heaven’s sake. If they rocked your boat before they still will, if not move to the next review now, if they offend you you’re probably a sad bastard who takes Iron Maiden seriously and we don’t want you here. As usual, the latest creature of Michael Starr and his flamboyant bandmates (or do you say banddudes?) faces an array of socially vital topics: pussy of course, of all ages - see ‘Gangbang at the Old Folks’ Home’- old and new creative manners of penetrations and veiled feelings - ‘Bukkake Tears’ hidden behind a face *too full of love*. In a rare introspective moment almost as touching as ‘Community Property’, Starr even faces his personal demons in ‘The Burden of Being Beautiful’. The whipped cream on the cake is the fucking awesome music: riffs and moans borrowed here and there - Justin Hawkins will feel honored, Bret Michaels pissed off but will play it cool - to underline the much awaited comeback of heavy metal, between holes, genitalia and various job variations. Fave track: it’s between ‘Gloryhole’ and the old folks’ gangbang thing. This is out April 1st and it’s not a joke. Get your lubricant ready.
Golden State release their UK debut on the 31st March through State Champ Records and it’s as divisive as hell. Opening track ‘All Roads Lead Home’ is emotive, sombre but ultimately uplifting with as big stadium finish as you could wish for that will earn them comparisons with 30 Seconds to Mars and to a lesser extent old boy stadium rockers U2. Then they go all alt-Brit rock on your asses with track ‘Setting Sun’. Then they turn into Muse with track three ‘Sink or Swim’. To be fair it’s a gentler, less intensive Muse but it’s there all the same. With so many influences to be heard it can be difficult to identify with them and not help feel they are playing a part in somebody’s else’s play. It’s not till later in the 50 odd minute album that you hear Golden State as themselves with tracks such as ‘Light Speed’ and ‘World on Fire’ and you get the sense this is where they want to be. The stand out track on the album is ‘World on Fire’, a big, big song, all clashing, layered guitars and frontman James Grundler’s vocals soaring in and out reminding me of sunsets, romance, loss and a real sense that this band, when on form, with a clear sense of direction will draw you in and not let go. Promising with some stand out tracks, some fillers and a wish they get on with the second album so the real Golden State can just stand up.
By David J Brady
By Cristina Massei
By David J Brady
April 2014
Sonic Shocks - Issue 23
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singles/ep REVIEWS TWO-BIT SISTER The Jackal
OH CAPTIVE Advanced Creature
The Afterparty Distances
21st April - Self Released
28thApril - Digital Release
7th April – Self Released
Two-Bit Sister are an infectious little alt rock pop made up of Leon Peskett (Guitar and lead vocals) and Connor Bluemel (Drums and backing vocals) who release their debut E.P.’The Jackal’ on the 21st April.
There are some bands that you have to question which genre they’ve been placed in – hearing that this hotly tipped band from Devon are deemed postpunk will be a bit of a head scratcher to many, post-punk being to most the genre John Peel brought onto the radio in the 80’s with bands like Killing Joke, Gang Of Four and The Cure.
South Coast rock group The Afterparty kick of their new 6 track mini-album with the track ‘Lost Cause’ a lightweight poppy track with great production but little depth.
Opening with their title track ‘The Jackal’ they gently ease you in with a slice of Brit-quality pop that reminds you of Liverpool bands of old. ‘Wanna Know’ is a great track reminiscent of a laid back Therapy?, all harmonic hooks and tight vocals. ‘Turbulence’ is a more prosaic affair with a definite Queens of The Stone-Age influence and a depth that belies the dues young years. ‘Times’ follows on with a much more laid back approach.
What Oh Captive bring to the table is more of an alt-rock sound and by sharing live stages with bands like Blitz Kids over their 2 years together they’ve managed to get a good idea of where their focus lies. Tim Kelly and Curtis King’s dual guitars bring a good slice of melody to proceedings – those that love crisp singing and a catchy chorus will enjoy tracks like the title track and ‘Beds Of Many Ghosts’.
Great promise to be had here and I look forward to what 2014 has in store for these Two-Bit Sister.
In a world where bands like Biffy Clyro, You Me At Six and other peers are doing high in the charts these fellows still have time to grow – maybe adding elements of that 80’s post-punk sound to the forefront will help them get stronger.
By David J Brady
By Matt Dawson
It gets better and grittier as you power through the album, clocking in at an attention grabbing 20 or so minutes, with tracks such as ‘When the Lights Go Out’ and ‘Liar Liar’ demonstrating this band do have depth, an ear for a lyric and a clear idea of where they want to go. Best track for me is ‘When the Lights Go Out’ a beautifully balanced track in which Nic Matthews vocals dovetail superbly with the bands tight musicianship. Produced with real polish by Matt O’Grady this is an album demonstrating some real talent and promise. Overall you’ll find yourself pottering about and then the chorus from ‘Cover Up’ or ‘Liar Liar’ will sneak up on you, whisper in your ear and you’ll be humming along before you remember the kettles boiled. That’s insidious, but hell, IT’S A FUN KIND OF INSIDIOUS!
By David J Brady
Sonic Shocks - Issue 23
April 2014
GRAND MAGUS
LIVE!
+ Asomvel and The Vintage Caravan Wolverhampton, Slade Rooms - 15th March Tonight I am in for a real treat. Along with headliners Grand Magus, Wolverhampton is also being treated to the heavy musical delights of Icelandic three-piece The Vintage Caravan and northern England metal warriors Asomvel. The Vintage Caravan are up first, a youthful group who are receiving critical acclaim for their recent “Voyage” album. They perform half an hour of bluesy heavy rock with a modern twist and an overenergetic bassist who whips up the early crowd into a frenzy. They are swiftly followed by Asomvel, northern England’s heavy weights, who from sound, image and stage presence show they might just be fans of Motorhead. The real reason we are all hear on this warm spring evening is Sweden’s Grand Magus. I first came across them a number of years ago at Bloodstock and loved every minute of their set on that day, so I am looking forward to a repeat performance. For those who have not come across Grand Magus they are pure traditional
KENDRA MORRIS
Servant Jazz Quarters (SJQ), London - 27th February
A small back street cocktail bar with a basement for intimate music in a small area of Shoreditch, London was the scene for a display of soulful jazz from Kendra Morris. A current New Yorker on tour in Europe to deliver her brand of Jazz to the masses plays her final gig of the tour at a sold out SJQ. The venue was indeed intimate with only a couple of metres between Kendra and the crowd. This did not interfere with the powerhouse Jazz and Soul performer who has previously been com-
heavy metal, with more than a hint of influence from the late Ronnie James Dio. They open with Kingslayer, a heavy number from their 2005 album, Wolf’s Return. The crowd are immediately pumped banging their heads in anger although I am not fully convinced. Three songs in and the energy is not there for me, but it slowly builds track by track. The let down for me at this point in the set is their use of samples as intro’s for a couple of songs. It is not smoothly done and if anything takes away from the live performance. However, by the time they hit Steel vs Steel and Valhalla I have been won over, the energy has built, albeit slowly, and I personally have been won over by the Swedes once again. They perform pretty much the staple set Grand Magus have been playing for a number of years now, with a few numbers from their new album, Triumph and Power, thrown in, including the title track which serves as the start of the encore. They finish the night with Hammer of the North and everyone, including myself, goes home happy. By Cat Cantlay – Photo Tim Finch pared to the likes of Amy Winehouse, Adele and significant others. She was quick to display her vocal range and emotion knocking out much of her latest album Banshee (Richard Walter Entertainment). Influenced by artists like Chaka Khan and Ruth Copeland and growing up with a Karaoke machine, Kendra Morris had a presence that would fit with her influences as well as the artists she is compared to. Close your eyes and it is easy to see why people make a link to Amy Winehouse when Kendra delivers tracks like ‘Pow’ and ‘Banshee’ but the soul side of Kendra is apparent in tracks like ‘Waiting’, ‘Old Photos’, and ‘ Concrete Waves’. Kendra gives new credence to covers from the likes of Pink Floyd (Shine on you Crazy Diamond), Metallica (Ride the Lightning), and even the Proclaimers (500 miles) performing them in her own fashion. I have to say though, her own work is my preference. A professional delivery of great music in such an intimate location. Review and photo by Mark Fletcher
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BABYSHAMBLES The Roundhouse, London – 10th March Once again, Peter Doherty miraculously shows up, all the way from Paris to the plush Roundhouse in Camden to join Babyshambles for a sold-out one off show. The bad boy of rock’n’roll is clearly getting older, maybe a bit wiser, who knows; what’s sure is this is a different show from what we’ve seen in September at Brixton Academy – and many times before. The evening opens with ‘Delivery’. It’s a ‘good boy’ Pete gracing the stage: hair cut short, no embarrassing falls, little interaction, he just stands there and actually sings, to the pleasure – I’m sure – of his entourage, much less of a certain type of press which will be left dry of poison to spit, finally forced to listen to the music. As for the fans, rather varied in age and appearance, they’re quieter than usual but appreciative, as the band goes through new, old and a few unusual gems like ‘La Belle et la Bete’. It’s however eternal crowd pleaser ‘Killamangiro’ half way through the set that fires up Peter and his adoring audience. Out of the terribly underrated new album ‘Sequel to the Prequel’, ‘Penguins’ and ‘Doctor No’ shine in their intense live delivery. It’s predictably ‘Fuck Forever’ that brings the show to a climax and a close. Well, at least it looks like it’s over, lights and all… Unexpectedly, while the crowd has already started to evacuate the auditorium, Babyshambles come back for more. A seemingly embarrassed Peter gives people time to come back in before presenting them with a special treat: ‘Bonnie and Clyde’ brings the audience closer to the stage, as love and temperature go up in the room. The real ending, passed curfew time and with the lights on, is ‘Shambles classic ‘Down in Albion’. For the last few minutes the Roundhouse gets a glimpse of the warmth of Peter’s more intimate performances, a privilege again most of the press and critics fail to appreciate. A good show and a rare professional delivery from Doherty. I’m just not sure somehow his heart was in there, but I suppose you don’t pay £25 and go to the Roundhouse to see Peter Doherty’s heart: You pay £25 and go to the Roundhouse to see a good performance, and oh boy, did he deliver. Now gimme a small room, an artist diving in the crowd and a crowd jumping on stage. And plenty of bad reviews to follow. By Cristina Massei
Sonic Shocks - Issue 23
April 2014
Crowbar
THE DASH
+Dripback, Harlot Church, Sworn To Oath Stoke Sugarmill - 7th March
The Hawley Arms, London – 20th March Despite still lacking a full length debut, The Dash are a well known name in London’s underground punk scene. Famous for the loud and frantic live shows, they don’t disappoint at a packed Hawley Arms tonight. Camden is in for a treat, as punters come in from the roof patio to squeeze in the small room upstairs. Influenced by The Stooges and The Clash amongst others, a visual touch of The Ramones, The Dash seem to have matured since their beginnings in 2008, enriching their sound with a hint of early Hanoi Rocks in their latest single ‘3 Times More’; it’s still however the raw, down’n’dirty punk’n’roll they got their loyal following used to. Interacting with the audience is almost compulsory in a venue where a gig has the size and atmosphere of a friendly jam. Marc makes the best of it, manag-
ing to join the party and dominate it with ease. The crowd dance and sing along to the old favourites up to closer ‘Fell in Love (with the back of my hand)’, B-side for new single ‘3 Times More’, catchy as norovirus and already a personal favourite. They’ll leave you wanting more little dirty gigs like this while wondering what they could possibly do on a bigger stage. Watch this space, but most of all watch this band. Review and photo by Cristina Massei
SXSW “Thrusts”VINTAGE TROUBLE into the Spotlight
I’m a metalhead from New Jersey, but have roots in all kinds of music from swing (come on, my last name is “Sinatra”) to ultra-classic rock to old school 70’s soul and disco and so on. It’s taken me a long time to admit it publicly, but I can deal with it now in my advanced age of 47. So when Sonic Shocks’ lead U.S. correspondent and total music maven, Denise Britt, asked me to accompany her to South by Southwest (SXSW) in Austin, Texas, I obliged. I’ve never been to SXSW, even though I’ve lived in Texas for 14 years and only 90 minutes away from Austin. I was told that SXSW was amazing and I would be impressed by the band, Vintage Trouble (VT). Yeah, yeah, I’ve heard that one before. Who hasn’t? Then comes the let down by an off key singer who stands there at the mic like Da Vinci’s David with pants (sometimes without…ugh!) or shabby musicianship. Thankfully, VT kicked major ass and was better than advertised. Honestly at first, I was expecting one of my favorite 80’s doom bands, Trouble (from Chicago) in some form with a new singer or the departed singer, Eric Wagner, putting a new spin on the old band, ala Queensryche. I couldn’t have been more wrong. What I got was an incredibly soulful music experience that had me yelling at the top
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of my lungs, along with everyone else in the crowd. Vocalist Ty Taylor, another Jersey boy, kept coercing us with “I can’t hear you SXSW” and each response was louder and louder! VT’s original songs are steeped in the 50’s and 60’s, but the band is only around four years old and making waves across the worldwide music scene. Hell, even Aerosmith’s drummer, Joey Kramer came out to introduce them! VT was formed in Venice Beach, California back in 2010 when Taylor and guitarist Nalle Colt hooked up, added Rick Barrio Dill on bass and Richard Danielson on the skins (I love writing “skins”...it makes me feel kinda groovy). The set started with Pelvis Pusher, a bonus track from their July 2011 digital edition album, The Bomb Shelter Sessions. Taylor’s pelvic thrusting throughout the song influenced numerous copycats in the crowd, some of which had no business pelvis pushing! It almost made me drop my $9 Texas-sized smoked turkey leg. Right from the start, I could see this band had something special to offer SXSW. As the set rolled on, I heard people in the crowd mentioning iconic names like “James Brown,” “Chuck Berry” and even “Prince” as Taylor shuffled and bounced around the stage with unbridled energy. He even took a detour, jumped off stage and ran down the sound man’s barricaded cable area like a man on fire. Later in the set, he took his very adept vocals into the crowd where he disappeared amongst a sea of hands, returned to the stage and finished the set. This was an incredible show; far better than I expected! Vintage Trouble receives 5 Hairy Tacos out of 5. By Steve “Sin” Sinatra - photo Denise Britt
25 years is a long time overall in life – a milestone to achieve and in the case of Crowbar it’s been a remarkable one, from changing their name from The Slugs to playing the biggest venue in New Orleans with Metallica and being a part of the most known festivals on the rock/metal scene it may surprise to learn that this is their FIRST time in Stoke itself. Nevertheless the queue as doors open is plentiful for a Friday with newly signed to Transcend trio Sworn To Oath getting a good reaction from their hometown as they showcase what is to come from their debut – one that is heavier than what came before although due to the special nature of tonight we do a couple of classics in Left You For Dead and Last Call as a message is sent to all: Sworn To Oath are ready to go global and to quote their mantra – Don’t Fuck About. Harlot Church’s chance to make a second impression - our first encounter was with another seminal stoner/sludge band in High On Fire – is one that shows a sense of growth with the added bonus of knowing their audience – their second song having an intro that is extended by a stop/start mechanic which once it kicks in gets people in a high energy frame of mind. That frame of mind fits perfectly when Dripback hit the stage with their battle cry sample of ‘Come On You Cunts’ – before ‘Wasted’ kicks in and they proceed to give a hardcore twist to the night, granted it did take a bit of coaxing from the crowd (which was in the end reciprocated with cheers) but for their debut in Stoke it turned out pretty good. What followed as Crowbar began their set however has to rank with one of the most bizarre starts as Kirk Windstein realises he needs to empty his bladder or as he eloquently puts it ‘take a quick piss’ so he asks the crowd if he can do that – to which there is an large roar of YES – does the task at hand (not on the stage!) then returns to start the set with what the New Orleans band are known for: no frills, crushing metal that the crowd absolutely love. Cheers for the first 25 Crowbar – here’s to many more. By Matt Dawson