In more sane times perhaps the world at large wouldn’t be sat at home losing their shit on social media about which no hope celebrity it is singing autotuned bollocks whilst dressed up as some comic creature. No, maybe, just maybe they’d all be sat at home losing their shit over the fact that legendary punk rocker Sonny Vincent and doom metal pioneer Bobby Liebling have somehow managed to record perhaps one of the best albums of their careers in ‘Caveman Logic’, the soon to be released debut album from their supergroup The Limit.

 

Also along for the thrill in this perhaps most unlikely of unions are guitarist Hugo Conim and drummer João Pedro Ventura from Portuguese band Dawnrider plus on bass Jimmy Recca once of the Stooges and Ron Asheton’s New Order, and together, boy oh boy do these guys kick up one hell of a glorious racket.

 

Opening track ‘Over Rover’ perfectly sets the scene for what’s on offer here, somehow seamlessly blending doom laden Sabbath-y guitars with Liebling spitting out a soulful variation on his distinctive vocal style and in turn sounding not a million miles away from the singer’s singer, Scott Morgan. It’s exciting stuff that’s for sure, the band sounding very much like it’s on a mission to prove that great rock music really should have no boundaries, or in fact genres, and in ‘Black Sea’ the lead single from the record, they somehow also manage to add to a tinge of gothic attitude to the type of amazing music that should have made the likes of Radio Birdman (other great garage punk bands are available) superstars a hundred times over.

 

‘These Days’ and ‘Human Vs Nature’ continue with the frantic in your face born in a garage style that The Limit quickly adopts as their own before ‘Fleeting Thoughts’ slows things down to let Vincent shine on a guitar chug that Steve ‘Guitar Hero’ Jones would have been proud to have penned.

 

Elsewhere the album’s title track sees The Limit pushing the button marked Stooges on the control desk, whilst ‘Sir Lancelot’ sees Liebling deliver yet another fantastic soul charged vocal that wouldn’t seem out of place amongst The Hydromatics or The Sonics back catalogues.

 

At one minute thirty five seconds in length ‘Life’s Last Night’ is perhaps the band’s defining musical statement, a total middle finger to convention, and a joyous celebration of everything great about this band. Likewise ‘When Life Gets Scorched’ and ‘Kitty’s Gone’ are tunes set to take the eyebrows off anyone who might be sitting too close to their speakers at the time, and it’s only during the more pensive ‘Death Of My Soul’ and the swaggering album closer ‘Enough’s Enough’ where you finally get a chance to draw breath and reflect on what has gone before.

 

Album-wise 2021 has certainly got off to a fantastic start and with the thirty six minutes of music The Limit are about to gift us all with ‘Caveman Logic’ it’s definitely reached one of its most interesting and surprising points yet.  Make a date in your diary for 9th of April 2021, get your copy of ‘Caveman Logic’ via the links below, then on the date in question pour yourself a well-deserved libation, drop this bad boy on the stereo, and then prepare to fall in love with great rock ‘n’ roll music all over again.  Essential!!!!

Buy ‘Caveman Logic’ Here

Svart / Facebook

Author: Johnny Hayward

 

DENIZ TEK
GROUNDBREAKING FIRST SOLO ALBUM ‘TAKE IT TO THE VERTICAL’ FEAT. THE STOOGES’ SCOTT ASHETON  AND RADIO BIRDMAN’S CHRIS MASUAK REISSUED ON 19TH MARCH VIA WILD HONEY RECORDS
Garage rock legend Radio Birdman founder Deniz Tek has announced the reissue of the groundbreaking album ‘Take It To The Vertical’. The album will be released for the first time on vinyl, digitally and on DSP’s on 19th March via Wild Honey Records.
‘Take It To The Vertical’, originally released by Redeye/Polydor Records Australia in 1992, was Deniz Tek’s first solo album. Recorded at historic SugarHill Studios in Houston, Texas, the album features Radio Birdman’s Chris Masuak on guitar and keyboards; and The Stooges’ Scott Asheton on drums. There are extensive liner notes, never before seen photos, and a bonus track that was not on the original release.
This amazing album has been long out of print, rare, and nearly impossible to find. It will now be available worldwide from Wild Honey as part two of a series of archival releases of Deniz Tek’s work.
Deniz has now shared the first track from the album. ‘Press On’, a ripping rock and roll anthem about air combat, was recorded live in the studio during the “Vertical” album sessions. This rare, unreleased track features Deniz and Chris Masuak, veteran Radio Birdman guitar slingers doing what they do best, and a smoking hot rhythm section led by the legendary Scott “Rock Action” Asheton on drums.
AVAILABLE FOR THE FIRST TIME ON VINYL, DIGITALLY AND ON DSP’S
HEAR FIRST TRACK ‘PRESS ON’ HERE, ON SOUNDCLOUD AND BANDCAMP

Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021. New single Black Sea out the 22nd of January 2021. Video out now!

More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portuguese metal band DawnriderThe Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman LogicBobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max’s Kansas City, CBGB Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portugese band DawnriderThe Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar.
The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it. This is as far as it goes. The Limit!

Pre-save new single Black Sea (22nd of January 2021) now:
https://orcd.co/thelimit-blacksea

Governess are a sleazy bunch of sexy sailors playing a glunky blend of all action rock n’ roll that would bring a tear of pride to the guy lined eyes of Johnny Thunders and Happy Tom. Hailing from Buffalo, NY in the late great USA, Governess share the balls of their mid-west neighbours and the guts of their NYC cousins. We had a word with guitar player Handsome Erik, an all American guy with an unhealthy love for UK 90’s indie bands.

Compete the following sentence “Governess sound like a cross between………..”

A cross between deathpunk, glam, and Scandi/action rock.  Big riffs, flamboyant swagger, sick guitars, and one hand gripping your crotch.  Our influences include Hanoi Rocks, NY Dolls, Turbonegro, The Hellacopters, and the Dead Boys, to name a few, and I think that comes out in our musical style.

It’s been 4 years single the debut album “Let Me Be Your Governess”. What have you guys been up to????

Writing songs, and hitting the road, mostly.  Getting out there, grinding, playing shows has always been at the forefront of our minds.  We didn’t really want four years to pass before putting out another record; it just kind of worked out that way.  The luxury of taking that time gave us a lot of material to choose from – the best we have from the last four years!

You’ve just unleashed new tune “Grime Time” what’s the response been like?

Oh man, the response has been great! Choosing the first single is a tricky thing.  We wanted to put a song out that gives the audience an idea of what the record sounds like, but we didn’t want to blow our load early and use the strongest tune(s).  I think we made the right decision; the song rips, and there’s still plenty of gems on the record.  Every lyric in that song is true, by the way.  It’s about our best bud, and 6th Governess – “Grime Time,” Matt.  Without blowing his head up too much, he’s become some sort of quasi-fabled legend.  He travels with us, partying his ass off the whole time.  Once he learned that we wrote a song about him, shit really popped off!

What can the world expect from the new album “Never Coming Home”?

Never Coming Home sounds HUGE.  Don’t expect some weak-ass, lo-fi, art-punk crap that was recorded on an old mixtape, or something.  There’s a lot of guitars, a lot of sing-a-longs, cool lyrics, and upbeat songs.  No snoozers.  It’s dark, it’s fast, and it’s loud.  In a lot of ways, we feel like Let Me Be Your Governess was kind of like our Ass Cobra, and this new one is our Apocalypse Dudes moment.  The band has evolved so much in four years.

Have you got a label lined up or will you set up your own label to get it out there?

We are currently doing everything ourselves, but we are definitely looking to shop this around and get label support.

What’s your plan, post-pandemic battle plan?

Staying in lock-down has everyone really dying to get out play shows.  Once we’re able to do that again, we’ll be pounding the pavement hard.  This pent up energy is going to make for some wild times ahead!  We’re trying to get this record released, in physical form, by the end of the year/early 2021.  We haven’t discussed an early digital release, but that’s a possibility as well.

Are there still any great undiscovered bands out there? Give your mates’ bands a push.

Absolutely! Punk’s not dead, it’s just down on the floor…  Through the years, we’ve met some great bands, and have made some great friends. Without a doubt, the best band in our scene is Hot Blood, from Asbury Park, New Jersey.  If you’re into hardcore punk, there’s no one doing it better.  They have two guitar players that shred, their lyrics are on point, and their hooks are strong as fuck.   In early 2019 they put out Fear of a Unified Public, and we’re still all talking about it!  Another great Asbury band (now in Los Angeles) is The Battery Electric. These beautiful babies are the hardest working band in the business.  100% rock n roll, sweet hooks, and another Jersey guitar shredder!  I would be remiss if I didn’t mention Rotten UK (Rochester, NY) and the Cheats (Pittsburgh, PA).  Both bands are incredible and should be way bigger than they are.  I hear the Hot Blood guys a Rotten boys don’t get along, though….

What five albums should no home be without?

I find it curious that you’re asking for five records, and it just so happens that those first five Oasis releases are pure fire!  Coincidence???  For real though, my favorite bands/records change on a daily basis, depending on my mood, or what Kinks record I’m listening to at the moment, so this is a tough question.  How about I tell you the five records that are getting the most spins in the Handsome household?

  1. Greater Than Ever, by Baseball Furies – Buffalo punk legends. I discovered this record about two years ago, and its been in regular rotation since.  I’m mad at myself for not discovering it sooner.
  2. Off the Rails, by Gino and the Goons – I just discovered these guys too!  Their entire catalog is great.  I thought I was a huge Heartbreakers fan; these guys really love them, L U V!
  3. Funhouse, by The Stooges – This record blows me away. It’s so loud, raw, and loose. Plus Ron Asheton is fucking MENTAL!!
  4. Crystal Gazing Luck Amazing, by Compulsive Gamblers – I love that 60s vibe. The singer has a sweet voice, and that song Two Thieves always makes me want to cry. I DON’T THOUGH!!!!!
  5. Algorithm & Blues, by The Good, the Bad, and the Zugly – Jesus Christ! What can I say? Its not only the best record of 2019, but it’s going in the Deathpunk Hall of Fame.

Governess are –

Robot Rob: Vocals & Bass
Handsome Erik: Lead Guitar
Fast Teddy Clarke: Lead Guitar
Jon Swayze: Rhythm Guitar
Matty Wild: Drums

Hurl them some abuse on their Facebook page Here

Check out the latest single “Grime Time” Bandcamp

Catch up and grab their debut album “Let Me Be Your Governess Here

Author: Fraser Munro

 

Here we have one of many compilations coming out in 2020 from Australian rock’n’roll journeyman Johnny Casino. The material here stemming from his earlier days in Asteroid B-612 to some additional tracks from the turn of the Millenium in Johnny Casino’s Easy Action. This is the 90—00 addition of his retrospective deep dives lovingly titled Hits & Misses.

Always incredibly underrated in international terms, the contribution of the land from down under to the metamorphosis of punk rock and it’s reactionary genres. Whether you are looking at their garage rock bands of the seventies, Melbourne’s post punk scene and even New Zealand’s Dunedin alternative rock sound. All highly influential on European and American acts alike but never getting a lot of the name checking it deserves.
I first came across Asteroid B-612 on a garage rock/psyche compilation years ago, I’d originally thought that they must of been a part of the original 70s wave of bands because their sound is so authentic without sounding dated. Not at all unlike contemporaries such as The Hellacopters and New Bomb Turks but at times with a harder edge like Mudhoney or Tad, particularly on 9 minute opus ‘chainsaw’ and album opener ‘moody’.
Original material on the record is backed up with an excellent array of covers spanning from Alice Cooper to Per Ubu. A particular stand out here is their ‘down on the street’ Stooges cover which has the ferocity of Dead Moon, it’s sonic fury making up for any production shortcomings.
Overall this is a great beginning to a career retrospective that has left me wanting to here part two and three that are also available. As well as that we have a new solo album to look forward to, you can check out country-tinged single ‘trouble weighs a ton’ which is out now. We’re just over the halfway point of 2020 and Johnny Casino is more productive than most artists are in the space of five years, pandemic or not, nothing is going to slow him down. Head over to his Bandcamp page and check him out, you won’t be disappointed.
Buy Johnny Casino Here
Author: Dan Kasm

August the 8th 1970.  The last time the original powerhouse machine that is The Stooges took to a stage. August 2020 sees it hit the shelves on record and a nice slab of heavyweight vinyl it is too without all the finer niceties of modern recordings this is straight from the desk loud as fuck! With Iggy being the last man standing I bet that wasn’t something many people would have uttered 50 years ago.

With a $15 to $20 price tag on tickets for this festival that would have had Savoy Brown, Jethro Tull, Joe Cocker, Chicago and Alice Cooper on the bill way above The mighty Stooges.  it must have been a bummer to have had to go on after this aural assault had long left the stage.  Whilst it might not be the finest soundboard mix ever you get the emotion of the band playing as both Brothers Asheton are kicking up a shitstorm of rage and intense musicianship especially on songs like ‘TV Eye’ and an inspirational performance on ‘Dirt’ but you keep being sidetracked by Alexanders bass as it takes a wobble especially through the amazing solo it might be hindsight knowing what happened but his falling apart does happen, It must have been a jaw-dropping spectacle yet little did the punters know this would be the last time this five would take the stage with Dave Alexander being fired.

In a day when bands play albums in their entirety and sell out venues, the Stooges were doing it in 1970.  By the time you get to the title track that huge throbbing hypnotic bassline but the reality is its a mess, and you can see why Iggy might have been pissed, seeing as there were a reported 200K in attendance and it must have been mindblowing hearing this as Mackay’s saxophone is causing hypertension on what I would say is one of the finest song ever penned, by anyone, anywhere at any time it’s a royale maelstrom of noise here, a beautiful noise by the way and with Mr. Pop barking out the words over the top the PA sounds like it’s about to ignite at any minute. as the sax and guitar duke it out even if the tape goes a bit wobbly which is such a shame it sounded magnificent.

 

Its believed that this performance was almost the cause of a full-on riot and hundreds charged the stage and began dismantling it after the Stooges left the stage it’s not hard to see how that could be on this performance and having the plug pulled on your set only enhances The Stooges legend anyway.  Thanks to Jack White and his label for making this release possible as it’s believed that MR Pop isn’t enamored but hey its been worth the wait and even MR Pop would have to agree that for a document in musical history this needed to be preserved and something he could and should be immensely proud to be a part of.

If the Funhouse complete is way out of your price range and you love that record and the band then this is a no brainer and well worth the price of admission in anyone’s book. Awesome.

Buy ‘Live At Goose Lake’ Here

Author: Dom Daley

 

In the mid to late 90’s it seemed that bands in Scandinavia had sold their collective souls at the Cross Roads found at the Three-Country Cairn, where each member was given the complete discography of the Nomads, The Stooges and the MC5 and told to go away and learn them.

Paving the road were the three horsemen of the apocalypse; The Hellacopters, Gluecifer and the Flaming Sideburns. Following on in their wake were the just as important and influential second wave, never quite making it to the Arenas but packing out clubs across their home Countries, Europe and even as far afield as North America. One such band was the “DEMONS”. Strangely enough, the States, notably the Pacific Northwest, embraced the Scandinavian Invasion and for a while, “DEMONS” were the uncrowned Kings of it.

To celebrate the band’s 25th Anniversary a live album called “No Loitering” that was recorded between their second album “Stockholm Slump” and third “Demonology” on the 5th March 2004 at The Crocodile Cafe in Seattle is being released via Vitriola Recordings

The press release says that “It by no means is pretty”, I’m not even sure if this is off the Soundboard or a very well recorded audience recording but it’s what we want, no scrub that, it’s what we need; fast, sweaty and furious without any compromises. The original classic four piece line-up kicking an eleven song set off with “Undertaker’s Lament” from the aforementioned “Stockholm Slump” but before you have time to register that fact the band are already ripping through “Devil In Me” but it’s not all past glories as the band road test the as yet unreleased “Lost Dog” and “What’s This Shit Called Love”, that both sit perfectly well in the set. The gig is the perfect length for us old school TDK 90 merchants coming in at just under 40 minutes.

Back in the day if I did have this on a cassette on the other side would be the Ramones “It’s Alive”. The only gripe I have is no “Electrocute”. Over here in Dear olde Blighty gigs still seem a long way off. This is why “No Loitering” is so important; not only is it a band firing on all cylinders but it is a reminder of how good live gigs are.    

Buy it Here

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Author: Armitage Smith

*This album is a Bandcamp exclusive. It will not be found on Spotify or any of the other streaming services.
A limited-edition digipack cd with a bonus poster will be released by Vitriola Records and will be available at a later date*

   

If you suddenly have the desire to collect The Hip Priests 7 inchers, just forget it already! That’s tantamount to saying you are gonna start collecting Star Wars figures or Kiss merchandise…there’s just too damn many, they’re too expensive and you won’t find ‘em all! But lucky for you, those fuckin’ boys have saved you the trouble and gathered together the lost gems, the hard to find cuts and the curios for all The Hip Priest fanboys and fangals to salivate over.

Yes, if you are a fully-fledged member of the Spasm Gang or even just a casual fan, (ie you don’t wear black denim every fuckin’ day!) then you probably already own the comprehensive double album ‘A Decade Of Disdain’. An album that brought together the best of The Hip Priests singles released over 2 pretty coloured records. And if you don’t, then give yourself a slap and get it sorted before we have words!

Well, ‘Solid Gold Easy Option’ is The Hip Priests strike back! 17 hard to find tracks from singles and EPs released between 2017-2019. That’s 6 cover versions bastardised by the band, sandwiched between 11 glorious original jams previously unavailable to mere mortals until now.

 

If quality, high octane garage rock is your thing, if you dig sonically seductive sounds delivered with more filth and fury than a Johnny Depp/Amber Heard weekend bender, then ‘Solid Gold Easy Option’ is right up your street. The dirty, the clean and the truly obscene rub sweaty shoulders and bloody knuckles in a defiant “fuck you!” to society, with no hint of socially distancing going on.

The epic ‘No Time (Like Right Now)’ is present and correct. Clocking in at just under 10 minutes, it’s their punk rock masterpiece, channelling the power of the MC5 with the horns and suss of Rocket From The Crypt, while they rant a diatribe about political skulduggery and post Brexit fuckery. It’s a punk rock anthem for right now. The other 3 tracks from that EP are present and correct, but the punk and belligerent ‘All My Rowdy Friends Are Dead’ and album closer ‘I’m Too Good’ seems to pale in comparison to the overly cool ‘She’s A Queen’. It sounds like Ian Astbury jamming with The Hellacopters, with one finger piano stabs, overly fuzzy guitars and vocals delivered straight from the crotch. It could be my favourite Hip Priests song right now.

Covers-wise, the likes of Motorhead’s ‘The Hammer’ and Demons ‘ Hot Running Blood’ are perfect Hip Priests fodder and stay pretty true to the originals. The Stooges ‘Loose’ is suitably ramshackle, sped up and delivered with guts and glory. Saxon’s ‘Play It Loud’ follows the same path and sounds epic.  It’s only Adam & The Ants classic ‘Press Darlings’ that doesn’t really benefit from the Hip Priests rough n’ ready, punk rock treatment for me.

Just because this is a b sides compilation, it doesn’t mean the quality has to suffer. ‘Nihilist Twist’ is a brutal, chanting 2 minute assault on the senses. ‘Dead By Sunday’ literally out ‘copters The Hellacopters and ‘I’m In Exile’ is all killer no filler. Wah-wah infused guitars fight with power chords as newest recruit Gentle Ben fills the right speaker and Austin the left, or is it the other way round? Who knows! But what I do know is the twin guitar attack sounds mighty.

 

27 singles, 3 EPs and 4 albums since their inception in 2007. It’s true to say that ‘Solid Gold Easy Option’ is more than just a stop-gap collection of odds and sods to keep their fanbase happy until album number 5 drops later this year. This is a quality collection of songs from shit island’s best-kept secret, and any self-respecting punk rock junkie should have it in their collection. The only trouble is do you choose green or blue vinyl?

Buy ‘Solid Gold Easy Option’ Here

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Author: Ben Hughes

 

 

Feels a bit weird yet fitting that I’m reviewing the Doojimans debut record (of sorts) second after reviewing their second release first.  Cofused? You will be but I doubt Doojiman and the gang would want it any other way.

Doojiman and his side kick Woogie Wombach grabbed a few space cadets and space cakes before heading into outter space to see if they could pull together something from the influences they had here on earth like The Ramones, MC5 and The Stooges but they weren’t just going to ape their idols they were going to throw their own shapes into the bowl and mix a fucked up salad all by themselves

With a bunch of EP’s, singles and two full-length albums under their belts (including ‘Electric Boogaloo’, released in January of this year by Beluga Records), Heavy Medication is bringing Stockholm’s D&TE’s debut digital-only e.p. from 2014 to vinyl for the first time and rockin up at Heavy Medications Door seems just about right and par for the course, to be honest.

From its opening chords, the “Watch Out! Look Out!” EP is everything as good as the ‘Electric Bugaloo’ album make no mistake about that. Its not just the debut EP though to be fair it also has the added bonus of four extra tracks (including a Nobunny cover) to make this another album they will certainly have orbiting around the end of the year best albums list. From the fuzzed-up organ heaving of opener ‘Woogie Wombach’ this record just motors. ‘(I Wanna Go) Take Me Away’ is a throbbing mass of Ramones angst being whipped by a Quo like twelve-bar chug.

They fly the Hives flag on ‘Doojiwoman’ and that filthy bass on ‘I Love It When You Hate Me’ would have been terrifying in the swinging ’60s where it was surely born.  It’s like the Kinks on bad Acid but they’ve still got their mojo baby.

It’s not all crash bang wallop though kids, of course, it’s not as the band tackle the Nobunny tune ‘Apple Tree’ with nothing more than an acoustic guitar and some tasteful percussion and shimmering electric to puncture the chorus. but before things are brought to a close they venture off through late seventies NYC where they tune their antenna to something Blondie used to ply through the airwaves.  Basically another top tune amongst an album full of top tunes but I expected nothing less.  Sign me up scotty for the next one I can’t get enough of these crazy cats.  Signing off starlog 2020 scribe Daley signing out!  Buy it.

Buy ‘Watch Out Look Out’ Here or from Beluga Records outta Sweden Here

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Author: Dom Daley

Back in the old days, there were a few bands who responded well to being harrassed by some writers from this side of the pond and some who lurked in the underground punk rock scene consistently knocking out great punk rock and B movie videos. Recently one of those beasts reconnected with RPM and had some new music available so it seems only fair that we threw out a few questions to Anthony about just what Chesty Malone is up to? So here goes a quick chat whilst your waiting for the new album to drop…
Hi Anthony, What have Chesty Malone & The Slice Em Ups been up to lately?
We spent most of the spring and summer of 2019 playing east coast shows in support of our ‘Satanic Brooklyn Scum’ 7” that came out on April fool’s day this year. We played with Dr Chud’s solo band in Delaware, we headlined a record release show at Lucky 13 Saloon in Brooklyn where we had a satanic blessing just before we went on. We also played Philadelphia, PA, and Altoona and State College, PA plus a bunch more I’m currently not remembering hahaha, I think we made it somewhere in Ohio too. We also have a brand new 3 song 7” coming out on Friday the 13th in December, ‘19. It’s called ‘Destroy All Humans’ and it’s gonna be on green, purple and black wax on 1332 Records. We also have upcoming shows in Brooklyn where we’re opening for Poison Idea’s final show along with our first ever shows in Pittsburgh, PA and Baltimore, MD and more!

For those new to the band can you give us a potted overview of who you are and what brought you together?
We formed in 2006 in the very depths of Queens, NY. We (Anthony Van Hoek and Jaqueline Blownaparte) were both heavy in the NYC Punk and hardcore scene and we decided to come together to bring back a more extreme old school feel. Music wasn’t our only influence, lots of B movies, Coors Light and hanging out with cool cats (the animals, not the people) inspired our new brand of sound. We like to express our love of those things and our feelings of disgust with society and people around us. Have you ever wondered what it’d be like if the OG Misfits played a VFW show with Metallica, the Cramps, the Plasmatics, the Stooges, Venom and some Las Vegas Strip club bands from the ‘50s while a Twilight Zone marathon played between bands with a white female Dolemite MCing the whole shabang? Well, wonder no more.
The East coast around the New York area especially has been such a creative centre for great Rock and Roll? what memories have you got of getting into punk rock?
My very 1st punk rock memory is probably when my uncle Allen brought the 1st Ramones record over to our house one summer when I was about 7 years old. That made a huge and indelible impression on me for sure. The east coast is great but we still wanna make it out west one day too!
Who influenced the sound of Chesty Malone?
I mean, life in general hahaha. Walk down the street behind a bunch of inconsiderate a-holes who don’t realize there are other people trying to use the sidewalk and you can get influenced by that for sure. Be a bouncer at a biker bar in New York City where you have to listen to the same country and classic rock tunes every night for years on end and that will inevitably sink into your soul. Ride the subway every day of your miserable life alongside rats, roaches and every form of assorted degenerate the world has to offer and, well you guessed it, huge influence! Sure I could name some bands we like but that’d be a bit boring and you can probably draw some conclusions on your own anyway.

 

You have a new record on the way what are the chances of a long-player? What about live shows?
We are currently writing and rehearsing for a new full-length album, thanks for asking! I’ll even give ya a scoop: it’s gonna be called “Please Chesty Don’t Hurt ‘em” and we’re always playing shows! Comin’ at ya live!
What about 2020 any plans for the band?
Well yeah! We’ve got the ‘Destroy All Humans’ 7” coming out at the end of 2019 so we’ll be shamelessly hawking that hot slab ‘o wax along with ‘Satanic Brooklyn Scum’ and all our other stuff all year. Maybe our 4th album that I mentioned above will come out in 2020. Unless something terrible happens of course. 
On to you personally, What or Who made you pick up the guitar in the first place?  From the scene that you started out in who are still kicking about?  I’ve seen some cool footage of shows from places like Coney Island they always look like a lot of fun and a great community? where has everyone gone or are they still around?
Yeah, it’s more of a WHAT that made me want to play the guitar. I’ve always loved the dirty heavy sound of a loud distorted guitar. Literally from the scene, I started out in, I can only think of the band Slough Feg that’s still around. Look ’em up if ya don’t know.
Your videos always look like a load of fun some great B movie humour going on where do you get your ideas?
Thank ya! I sometimes wake up in the middle of the night with video concept ideas and song ideas and artwork concepts etc. I keep a notebook and pen by my bed for these purposes.
There you go, folks, a quick catch up with our Favourite Queens punk rockers check out the videos and go listen to their tunes stream them or pop along to one of the links provided and pick up an old school record – they rock!
The label’s site, where you can order the new record
All photos by Rusty Glessner