Following pop-up exhibitions in London, New York and Paris, IDLES announce today their plans to auction off all the artwork to raise money for Samaritans. The band’s latest single, of the same name and inspired by the charity, has also been A-listed this week at 6 Music.

The auction will be live from 09:00 GMT on Friday 7th Dec.

The band will be staggering end times of auctions every 15 minutes from 18:00 GMT on Sunday 9th Dec.

People will be able to bid on the following work:

JAAAOR Front Cover
‘Colossus’ by Nigel Talbot
‘Never Fight a Man with a Perm’ by Robin Stewart
‘I’m Scum’ by Joe Talbot
‘Danny Nedelko’ by Tao Lashley-Burnley
‘Love Song’ by Elizabeth Cater
‘June’ by Elizabeth Cater and Joe Talbot
‘Samaritans’ by Joe Talbot
‘Television’ by Tao Lashley-Burnley
‘Great’ by Ed Barrett
‘Gram Rock’ by Orlando Weeks
‘Cry to Me’ by Huw Good
‘Rottweiler’ by Tao Lashley-Burnley
‘AAlcohol’ by Joe Talbot
‘I Dream Guillotine’ by Chris Nicholls
‘Mercedes Marxist’ by Russel Oliver
Idles Centrefold by Tom Ham
JAAAOR Back Cover

For further information, photos of artwork and to bid in the auction:

Auction bids here

“We are really delighted and grateful that IDLES are auctioning this fantastic artwork, inspired by the Samaritans track, to support the service our volunteers provide for people. Hopefully it will rais,e awareness of what Samaritans does, and encourage people to look after their own well-being and that of their friends and family, as well as helping Samaritans to be there for people when they need it.”

Samaritans CEO Ruth Sutherland

Further information about Samaritans:

Samaritans has more than 20,000 volunteers in the UK and Ireland who can be contacted any time, free from any phone, on 116 123. They also provide support via email jo@samaritans.org or face to face support at their 201 branches. Samaritans volunteers respond to more than 5 million calls for help a year.

Considering his epic catalogue of releases I don’t think I can recall sulo ever making a “Bad” record luckily this very ambitious release can also be added to the ever impressive list.  Diamond Dogs, The Crunch or Solo he has his distinct vocal and can easily flip-flop between styles sure they’re all Rock and Roll but this is a far gentler side of his work.  Especially the ‘Nightshift’ side as it might suggest. Piano acoustic guitars duets its fairly standard arrangments for sure but the quality of the songs shines through. ‘Time To Alight’ is a wonderful and simple piano and guitar song with sparse backing vocals. I think its fair to say that if Sulo wanted to create a soundtrack to the dead of night then he has achieved that with some to spare. It’s gentle and soft in places and its personified in the albums title track with some beautiful piano rolls that sort of put a full stop on proceedings.

Sulo has always had great musicians working with him to compliment his writing and this is no exception.  I love the swirling organ that stabs through the bleakness like on ‘I Swear To God I Don’t Believe’ I love the grandness of the backing vocals.   Considering this collection has twenty seven songs it ebbs and flows wonderfully I know it won’t please everyone but if you want the guys gentler balladeering side then it’s here and if you want the Rock and Roll that’s present too the only thing missing is the punkier side but that’s why he does the Crunch I guess.   Sure I think its fair to say you will be drawn to one CD over the other be it the darker melancholy side or the more uptempo and light side, me I’m somewhere in between as I think the best songs are on ‘Nightshift’ I do love it when he delves into that whole Faces groove but here its not quite that simple as ‘Brilliant Outsiders’ has got its country honk going on.  If you ever liked someone like Chuck Prophet then you need to check this out – lap steel, duets, country honk Sulo has arranged for a whole record of players to duet with him from Stockholm to Florida and Nashville to London and everywhere between have lent a helping hand. He’s even managed to rope in the UK finest Country Band Los Pacaminos to back him up.  So it would seem you can also add this style to his ever-bulging portfolio.  It’s not quite the stretch you might think but the songs are authentic and sound like they’ve been brought from a good place and a happiness and Joie de vivre captured within.

‘Bring Down The Angels’ is fantastic and the band lives it up on ‘God Damned Jesus’ did somebody mention Mellencamp meets Waits meets Waylon?  Oh, it was me.  Well, that’s the ballpark we’re playing in here.  I think its no good thinking you’re going to hear the Diamond Dogs or Crunch because that’s not going to happen you have to keep an open mind and just let the music flow.  whilst it might have been an experiment too far for a lot of people for many others I’m sure an appreciation for the guy’s songwriting talent will win them over.  Me – I’m happy to hear whatever Sulo throws my way I think he’s a talent we should champion no matter what style he delivers next.  If you don’t raise a smile by the end of ‘A Song For Every Train’ then I feel sorry for you.

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Author : Dom Daley

Day 7 October 4th – GTA flashbacks, rock ‘n’ roll haunts and unexpected discoveries

Up early, we head for Santa Monica Pier. That iconic Ferris wheel is clearly visible in the early morning sun as we stroll across the deserted beach. Exploring the pier brings back GTA flashbacks again, they got it so right in San Andreas. The number of times I have walked down this pier in the game shot a bunch of innocent bystanders found a car and drove off into the hills being frantically chased by police cars and helicopters.

Back to reality, we grab a coffee and sit to do some people watching. Homeless people and drunks lay asleep, slumped over tables in the sun as Mexicans sell art and a Chinese guy plays hypnotic music on some exotic looking instrument. An Asian woman, older than her body suggests, dances continuously to the music blaring from the cafe speakers, she wears a tiny black bikini and with a constant smile on her face, seems oblivious to the world around her. This seems to be the general theme in LA. Everyone is in their own little bubble; interaction seems unlikely unless there is a transaction to be made. Take the restaurants, the beautiful people greet you with a smile and call you “sir”. They will do whatever they think you want for that extra dollar tip, the lower classes bring your food and I wonder who takes the tips.

 

We hire bikes and take the cycle path, a long stretch to Venice Beach. It’s still early morning for most LA residents and Jamaicans with t-shirt stalls and hippies with guitars are still setting up whatever it is they do for the day to make money. As we ride onwards, the fragrant smell of marijuana fills the air, now it’s legal over here, you see (or smell) it everywhere. We cycle past all sorts of strange looking characters from all walks of life.

We stop at a skate park and watch teenagers do their thing for a while, we dodge Jamaican street sellers, trying their hardest to sell you a CD of their latest ‘music’.

After lunch, we take the car out for a bit of sightseeing.  Driving in LA takes time and in hindsight, maybe taking a taxi or an Uber is the best way. One of the places on my list was the Hollywood Forever Cemetery, one of many cemeteries in LA where the rich and famous are laid to rest.

In this idyllic, reclusive escape from the craziness of LA, you can find the likes of Jayne Mansfield and Mickey Rooney amongst the graves laid out across the beautiful gardens, but the reason for my visit is Johnny Ramone and Chris Cornell, who are funnily enough laid right next to each other. My brother was a massive Cornell fan, I remember Dan playing ‘Seasons’ to me when he worked it out, that moment always stays with me and it was essential for me to just take a moment with my thoughts here.

 

Back when I originally booked this holiday, I presumed nearer to the time that we would have a whole host of bands to go check out at the various clubs on the strip. Turns out, sod’s law, that its slim pickings for a rock ‘n’ roll junkie the nights we have chosen to be in town. But we do find that Shooter Jennings is playing at The Whiskey A Go Go, so that will do nicely.

In a bizarre twist of fate, we cross paths with my gig-going buddy and ace photographer Marc McGarraghy, who is over here doing a similar road trip with his wife.

The venue is forever iconic in my mind from my teenage years. All my heroes played here, Van Halen, Motley Crue and Guns n’ Roses, it’s the stuff of legends. It is smaller than I imagined but very cool. With a 500 capacity it’s just the size venue I love, and after grabbing a beer, we turn to the stage and imagine what has gone down there over the years.

But that’s all history now and tonight we have four bands to watch. Openers Shelby Texas are a boy/girl duo with just a guitar, who play instantly infectious countrified tunes, Their voices are great together and their Cash/Carter influences even more evident with the inclusion of a cover of Cash’s ‘Jackson’.

I don’t know who Keith Jacob is and I have no desire to find out after tonight’s performance. The guy plays the cheesy sort of country-pop I hate, like Billy Ray Cyrus. Songs that go nowhere and lyrically mean nothing. His voice isn’t great and his stage presence at the same level. The guitar tech is a dwarf, no joke! And things get even more bizarre as the set goes on. He keeps bringing out stunning looking dancing girls who perform perfectly synchronised dance routines that do nothing to improve the fact that his songs suck! Why? Maybe one is his daughter or the guitar player’s girlfriend, or maybe they are just strippers. The mind boggles, but they are by far the best thing about his set.

The climax involves the girls onstage with flying v guitars, doing an ‘Addicted To Love’ style dance routine as two male dwarfs, complete with miniature flying v guitars jump about too! The most tripped out and bizarre performance I have ever seen and probably the worst. I’m still not convinced it actually happened.

 

Hellbound Glory is like a breath of fresh air after that performance. Fronted by the instantly likable Leroy Virgil, who looks like a Bee Gee in a bomber jacket, yet sings like a rock ‘n’ roll star in his prime. His band is tight, the rhythm section especially a well-oiled machine. Turns out they are actually Shooter Jennings’ band and this is the album release show for Virgil’s comeback album ‘Pinball’. An album produced by Jennings himself and featuring his own band, backing the Reno-based singer/songwriter. It seems Jennings has taken Virgil under his wing and got him back into the business of doing music.

The upbeat title track and the likes of ‘Another Bender Might Break Me’ are whiskey and cocaine-fuelled tales that showcase a quality songwriter on the edge of a few benders himself.

As his set ends he takes the front of the stage and pours his drink over his head, in a sort of ‘don’t give a fuck’ act of defiance. Take me as I am, he seems to be saying and we certainly will.

Hellbound Glory impressed and are an unexpected highlight of the evening that will have us talking long after this trip has ended. ‘Pinball’ is a must-have album for us right now.

 

Porn legend Ron Jeremy is in the room tonight, should I go up and tell him I’ve seen all his greatest movies?…probably not!  He takes the stage to introduce Shooter Jennings. What a band! The same players who backed Leroy Virgil, all the same apart from fiddle player Aubrey Richmond, who has changed from all black leather to a hippified, blue one piece for the headline set.

Shooter, dressed in a purple suit, shades ever present, stands behind a keyboard stage front for most of the set. Sometimes on keys, sometimes a guitar, it’s the bassist and fiddle player that the eyes are drawn to watch as the set unfolds.

The sound of Shooter Jennings is more in line with what the two of us have been listening to in recent times. A sort of Alabama 3 meets Nick Cave vibe with a touch of Johnny Cash. The band is tight, the songs flow and the packed room love it. The likes of ‘Electric Rodeo’ are soaked in Black Crowes vibes, catchy standout track ‘Outlaw You’, definite country but with added fiddle giving a folk edge to it.

We came to this show last minute, on a whim. Not familiar with the music of Shooter Jennings, we leave after a great night needing to check out the back catalogue, but it’s the support band Hellbound Glory who really leave a lasting impression long after the trip has ended.

 

Day 8 – Universal Studios, bucket list bars and future stars

 

Day 2 in Los Angeles is spent mostly at Universal Studios. The tour is essential, the themed rides vary in awesomeness, Sedd has been before and recommends we upgrade to fast-track entry to save time queuing good move. We get there as it opens and leave by 3 pm having done pretty much every ride. Most are 3D interactive rides, with 3D glasses, Harry Potter and Transformers offering the most thrills, a larger than life replica of Springfield is very trippy and a detailed replica of Hogwarts is not to be missed.

We then take a trip over to Laurel Canyon to find the house where Jim Morrison lived, check out the hippy country store next door and just take in the atmosphere. Cruise through the likes of Rodeo Drive, the chaotic traffic, the palm trees and the characters that you would only see in LA.

The evening brings a trip down Hollywood Boulevard to check out the bucket list rock ‘n’ roll bars. We find The Viper Room, intending to grab a quick beer and move on. We follow the black-walled corridors to the main room, a small room that is packed, everyone seemingly waiting for a band to take the stage. There’s a cool vibe in here, we soak it in, like The Whiskey last night and imagine the bands that have taken to that stage in the past.

Tonight is the album release show for a band called Disciples Of Babylon. Premiering tracks from the newly released ‘The Rise And Fall Of Babylon’. The guys have an epic, almost proggy sound. Rousing gang vocals on the likes of ‘Liberty’ and ‘Karma’ bring to mind 30 Seconds To Mars at their best. Frontman Eric Knight incites crowd participation time and again and does what’s needed to keep the packed in crowd ignited as guitarist Ramon Blanco pulls off stadium-sized licks to his side. They even throw in a choice Zep cover in the form of ‘Immigrant Song’.

Lyrically, a socially aware band who are in touch with the state their country is in, musically and sonically tight and professional, they seem to have the songs that matter. Worth checking out methinks.

We then head onto the Rainbow Bar & Grill. Again, it’s tiny and very cool. I don’t really know what I was expecting, glitz and glamour, maybe a rock star sighting or two? Truth is, these clubs are exactly the same as the clubs I frequent in the UK, small, great drinking bars that have the same atmosphere as Fibbers, as The Brudenell, as whatever club I go to watch bands in, the only difference is the location and then maybe the less famous clientele.

I would have liked more time in LA, but it’s just so freakin’ big! A lot bigger than I expected.  There is still so much we did not see, so the Hollywood sign, the Walk of Fame and the rest will have to wait until next time, as Vegas is calling.

 

 

Author : Ben Hughes

 

 

 

With the Dahlmanns’ new swift, six song mini-album, I’ll get to the point as quickly as they do: ‘American Heartbeat’ is a brief shot of pure power-pop rock excellence. The idea behind the record is one of magical collaboration. Written and produced by Scandanavian rock ‘n’ roll dream team Bjorne Froberg (the Nomads) and Chips Kiesbye (Sator), the Dahlmanns are here giving it their own special delivery in one small, exciting package.

With the Sator vocalist and guitarist Chips Kiesbye behind the production work, the sound is predictably sharp and bold, perfectly capturing the lively edge of the songs and highlighting the pop sensibilities that are gloriously smothered all over them. The songs are expertly written and played, and are a must for anyone who loves their power pop just that bit punchy.

I have seen it written that they are a cross between the Ramones and the Go Go’s, and I can’t offer a better description than that. Here, rockers such as the roaring opener ‘Tomorrow Came Today’ and ‘Get it Right’ are destined to get your feet moving, while ‘I Know You Want Me Back’ and ‘It’s Still a Long Way Down’ add the extra bit of pop romanticism.

Either way, all six tracks bind together to produce a perfect Friday night album, and one which is a must-have for all fans of punk rock with a delightful power pop edge.

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Author : Craggy Collyde

Rum Bar Records presents international garage rock ambassadors Muck and the Mires this weekend with some great dates in the UK!!!
Friday 11/30 – London @ Nambucca w/The Fleshtones & The Speedways
Saturday 12/1 – Harlow @ Phoenix Live Lounge
Muck and the Mires will make you want to Twist and Shout and Blitzkrieg Bop. No one does it better than Muck and the Mires, we swear by it! Also on the bill in London are RPM favourites The Speedways.  Get there early and dance like you’ve never danced before.

Billed as an incredible rock ‘n’ roll freakshow there will never be any chance of Helldorado being done for false representation. With over 30 live bands, live wrestling, burlesque acts and a whole lot more besides the 40 odd Euros I shelled out for early bird tickets made me feel like I’d bagged myself one of the gig bargains of the year. But would it really live up to my expectations?

Arriving at the Klokgebouw (an arts/theatre venue in a huge multi room warehouse complex situated on an industrial park within a bicycle kick’s distance of PSV’s ground) with about half an hour to spare before the doors were due to open this gave one or two of our travelling group the chance to walk off their fragile states following the previous night’s Turbojugend meet up in the city’s Café The Jack (steady on Daley there were no retrievers in sight here) which had proven to be as colourful an introduction to the city as the Glow art event that was also taking place that same evening.

After finally making our way through the airport style security (which was done as quickly as possible by very friendly staff who seemed to be able to speak a multitude of languages all at the same time) I finally made my way into the venue and hit the main Cobra stage just as Prima Donna were launching into the 2nd song of their set.   With just 30 minutes on stage there was no time for banter or messing about so Kevin Preston and his prima donnas (ouch) just do what they do best and play a set packed full of infectious rock ‘n’ roll anthems largely drawn from their excellent ‘S/T’ album. A better sound mix (something which you’ll see becomes of a recurring theme throughout the day) might have drawn out some of the band’s poppier saxophone driven moments but at 1pm in the afternoon, warming up a largely still hungover crowd, the boys did mighty fine indeed. Now make sure you catch them on the road with Danko Jones right now!

Moving over to the adjoining Lion stage for a little bit of fun with Cirque Du Mort’s Trashy Pandas and it’s somewhat confusing to discover that after travelling all this way this UK troop’s lead hostess speaks with the broadest of Welsh accents. Alright butt. Then just as The Devils (no not the Nick Rhodes pre-Duran act) prepare  to take to their makeshift stage in the middle of a wrestling ring situated mid dancefloor one of our group (whose been on a proper walkabout around the complex) points out we best make our way over to the Tarantula stage as it’s a tad smaller than the other two stages and the buzz surrounding the arrival of The Hip Priests complete with their very own trashy panda on lead vocals might just see us left out in the cold (and boy was it cold outside) if we’re not sharpish. On our way over though we just have time to check out the doom drone of Monolord on the Cobra stage which on another day in another venue might have inspired me to throw my horns in the air, however today I’m all about the Priests. 

Getting into position a few rows behind the Spasm Gang diehards who follow The Hip Priests all over the globe the most rewarding thing for me (and I’m sure the band too) was to glance around and see the venue was indeed fully packed out. If ever there was a reason for this band to exist then there really was no time like right now to fully deliver on their musical promise. With the Fuck Cancer t-shirted Von Cruz dedicating their set to Kathy Rocker this just seemed to light their fuse as they sped off through a set littered with career defining tunes that just exploded right in our faces. The ever present ‘Instant Delinquent’ got the first proper pit of the day going whilst in ‘Zero Fucks Given’ I still say the band have the best Stooges song Iggy never wrote, and it’s not just me that thinks this as the crowd literally hollered the song’s title back at them during the extended coda outro. ‘Stand For Nothing’ might be the ironic(?) title of the band’s soon to be released fourth studio record, but for the thirty minutes spent in their company today they stand for everything, so cheers to you guys you really are muthafucking superior.

It’s almost impossible to get my bearings after such an incendiary set so I drift between Death Alley and The Rock N Roll Wrestling and then Vintage Caravan (none of them able to get anywhere near what had preceded them) and in the meantime I also manage to somehow miss The Dahmers (who talking to someone later were apparently excellent) altogether. Bollocks!

It was the lure of witnessing Nicke Andersson back behind a drum kit (for the first time since his days spent with the mighty The Solution) playing with Lucifer over on the Cobra stage that dragged me out of my stupor, and as the band unfurled its very own fringed tops take of Psych-Doom I suddenly started to have flashbacks to a few years back when a good mate of mine made me watch Uncle Acid & The Deadbeats and Witchcraft back to back at Hellfest and I honestly thought I’d just woken up in 1972. In many ways I feel Lucifer are perhaps not unlike an Andersson’s Night for the Scando-Doom generation, and whilst I personally don’t dig it the many people around me who headbanged constantly throughout the band’s 45 minutes set treated them like headliners in waiting. I’ll stick with my Blues Pills LPs thanks.

Price pointing their merch at 10 and 15 Euros a pop the muthafuckin’ Dwarves really were living up to their rock legends tag long before they had even played a note today. It’s simple acts of punk rock genius like this that see most people either sporting or carrying a cross-boners themed item of  merch by the time the band hit the Cobra stage, and initial dodgy sound aside Blag and his gang of reprobates simply could do no wrong as they stampeded their way through the likes of ‘Way Out’, ‘Sluts Of The USA’, ‘Back Seat Of My Car’ and ‘Devil’s Level’ leaving me with barely time to take a gulp of my beer between the classic tunes crammed into the set list this afternoon. With added human fireball, smurf and a bevvy of lovelies providing visual stimulation for a mosh pit seemingly set on self-destruct (especially during a frenzied ‘I Will Deny’) the only thing that was really missing was more tunes from the band’s superb ‘Take Back The Night’ LP. Then again when you’re as good looking as these fucks you can do whatever the fuck you want and still end up being one of the best bands of the day.

Moving back to the Lion stage for the highly anticipated return of Supersuckers, out on the road promoting the (almost) 20th anniversary of ‘Evil Powers Of Rock N Roll’, it actually took me 2 or 3 songs before I realised this was the same band that totally blew me away all those years ago. The current 3-piece version of the band seem to favour the type of flat-out wall of noise approach to gigs that Motorhead pretty much made their trademark, and to be honest it all kind of goes over my head, especially early doors. Couple this with an Eddie Spaghetti who is obviously trying to warm up and not over stretch his voice (for obvious totally understandable reasons) I simply found the whole thing very frustrating indeed. Yes of course the band still soared majestically when they aired the likes of ‘Born With A Tail’ and ‘Pretty Fucked Up’ but I’d be gobsmacked if anyone went out and bought a copy of ‘Suck It’ as a result of hearing any of the songs aired from that here this evening, and that’s a crying shame because it’s actually a very good album.

Jogging back over to the Cobra stage to find Zeke were just about to into ‘All The Way’ from their ‘Hellbender’ LP the packed out room then proceeded to just totally lose it. This being my third time of seeing the band on this tour meant I knew what was about to come and the odd beer shower was an almost welcome relief from the already oppressive heat being generated by the Olympic sized pit moving at pace stage front and centre. With side stage also packed full of other bands all keen to experience the Zeke-effect it was reassuring to finally put to rest the urban myth that Nick Oliveri and Blind Marky Felchtone were in fact the same person, Oliveri screaming most of the band’s back catalogue from the wings like their number one fan whilst the more eagle eyed amongst us also spotted Austin Rocket from The Hip Priests revealing himself as a closet KISS fan by singing along to the Zeke-ified version of ‘Shout It Out Loud’. If you’ve seen Zeke live yourself recently, you’ll get what I mean when I say they are impossible to critique, they just are muthafuckin’ Zeke end of.

With prospect of the night turning into a progressive/psych type of affair if I hung about in the main stage areas to watch DeWolf and then Kadavar, I instead plumped for the much more sensible (and less satin flared) option of checking out Nick Oliveri – Death Electric back in the Tarantula stage. Backed by his Dwarves bandmates and dedicating his set to Todd Youth, from the opening ‘Tension Head’ to the final chords of ‘Millionaire’ what we were given tonight was a simple lesson into why Nick is so badly missed by Josh Homme in his now piss weak stadium filling version of the once great band. I could have listened to this stuff all night but with barely an hour before the first of the two!! headliners were set to take the stage it was time to finally catch my breath.

Chatting with friends old and new in the food concourse for the best part of that hour the highlight of which involved us people watching two lads trying to get a 12” record into a 10” locker that eventually ended up with said record being bent slightly in half in order to get it in (yeah I’m still cringing writing about it here) it was thankfully the sound of Rich Knox’s kick drum heralding the arrival of  Danko Jones over on the Lion stage rather than the snap of an LP that brought us back into reality with a bump.

Now having mentioned how off the mark the sound had been for a number of bands earlier in the day the immediate thing that impressed me when I took up my place on the barrier for Danko was just how clear and powerful it now was. Could the curse of Castle Donington have made its way all the way to the Netherlands? Oh, what the hell, I’d last seen the band about 5 or 6 years ago at Hellfest struggling a little bit to get a reaction from an audience only looking to throw devil horns and headbang but here at Helldorado Danko Jones (the band) really were in their element, plundering their extensive back catalogue to keep people dancing and humming their tunes long after their hour long set had ended. ‘The Twisting Knife’, ‘Had Enough’, ‘Play The Blues’ and of course ‘Sugar Chocolate’ (which took me right back to 2001 and the band’s  debut UK support slot with Backyard Babies) were all present and with Danko (the frontman) on top form banter-wise tonight really was theirs for the taking and just like with The Hip Priests earlier in the day it was absolutely fantastic to see a band with originality high on their menu (even if it’s the bits they steal from other bands) getting the reception they so justly deserve. Karma indeed!

Having released an album that has caused some pretty diametrically opposite reactions from their diehard fans the Turbonegro of 2018 have certainly come a long way since I first saw them live back in the early noughties playing a small club in Birmingham promoting their then reunion LP ‘Scandinavian Leather’. However, whilst I’m man enough to admit to quite liking ‘RockNRoll Machine’ it’s the distinct possibility of Queen covers (something they have been doing more recently) being played that found me entering into this Cobra stage headline set with more than just a bit of unease. I shouldn’t have worried though because here tonight the band blended the post-Hank and pre-Tony years into a set of high-octane stadium rock that must have had even the out and out haters of ‘RocknRoll Machine’ nodding along. I mean how can you sing along to the likes of ‘Wasted Again’, ‘All My Friends are Dead’ ‘Get It On’ and ‘Back To Dungaree High’ and then not also be drawn in by the likes of ‘Hurry Up & Die’ or the hilariously titled ‘Hot For Nietzsche’ (the pereft counterpart to the band’s love letter to Van Halen’s ‘1984’ that is ‘Chrome Ozone Creation’)?

With an encore consisting of 2 more classics from ‘Apocalypse Dudes’ (‘The Age Of Pamparius’ and ‘Selfdestructo Bust’) before the ultimate vinegar stroke of ‘I Got It Erection’ was dispatched to send some of us off into the cold night air night, I’m not entirely sure where all the anxiety I had about seeing Turbonegro in 2018 came from, they are still the same fun loving bunch, they’ve just polished the whole thing up a bit that’s all.

So as the party raged on hard well into the wee small hours back at the Klokgebouw I walked back to the hotel reflecting on the fact that with hotel, train and gig tickets plus flights, this trip worked out around £275 for each of our party. That’s for a weekend in a fantastic city we’d never been to before, the chance to meet some great new mates plus catch up with some great old ones, plus watch a shit load of superb bands in the process. I just know I’m gonna wake up feeling like I want to do it all over again next year. That’s because you gotta live life people – take some risks- because you never know what you might discover just around the corner even on an industrial park somewhere near PSV Eindhoven’s stadium.

Thank you Helldoardo for being so fucking amazing!!!!!

Author : Johnny Hayward

Helldorado

 

 

Day 3 – San Francisco: seafood and drinking with the locals

The ride from the airport to Fisherman’s Wharf takes maybe 40 minutes. Packed like sardines, our taxi is full, there is no air con and it’s what you might call uncomfortable. We travel through some pretty rough looking areas, as we spy hammered bums staggering through the streets clutching their worldly belongings in one hand and a brown paper bag with god only knows what in the other. Groups of Hispanics and Africans hang on street corners, pimps, drug dealers or maybe even worse. Holy crap! Is this San Francisco? I don’t want to be staying here.

Luckily, our hotel is situated just off the much nicer Fisherman’s Wharf and we waste no time exploring the tourist areas. Bars, shacks and shops offer everything from the exotic to the less so exotic. Shops sell high class art, others sell tacky tat, some a combination of both. If you love seafood this is the place to be, its everywhere and it all looks and smells amazing. From fresh lobster and crab to bread bowls of clam chowder, it’s a seafood lover’s dream.

After eating, we stray from the tourist area and find an Irish bar for beer, whiskey and local company. We get talking to a regular; Phil, a self-confessed alcoholic  who loves to talk, oh how he loves to talk! He repeats himself with stories of hunting, his kids and the local area. I get stuck with him and Sedd a couple of locals, one with a strong NY accent. The alcohol and the conversation flows and by the end of the evening Paisley Park now seems a long, long’ time ago.

 

Day 4 – Bikes, bums and glorious sea views

 

As this is a rock ‘n’ roll road trip the plan was to catch as many bands as we could on our travels. After weeks of searching listings, it seems that anyone we wanted to see either had just played or were playing after we left, so we decided San Fransico would be the full-on tourist trip.

Today, as part of our holiday package we have electric bikes hired for a day of exploration. This I would highly recommend if you are coming to San Francisco for the first time. We plan a route that took us through Haight-Ashbury, the centre of the 60’s hippie movement, down through lush green parks, over sandy beaches and through dense forestry and over a coastal path to the Golden Gate Bridge.

 

Thank god for electric bikes! The steep roads are unforgiving and the journey up and over to Haights-Ashbury is a long one that takes in the sights and sounds of the city in a way you just cannot experience by taxi or tram.

What we didn’t take into account was that it was Sunday morning and most of the shops in Haights-Ashbury are shut! The thrift stores, tattoo shops and even the world famous Ben & Jerry’s ice cream parlour are not open yet. But the bohemian vibe is omnipresent. Bums and aging hippies still shuffle about minding their own business, as the morning Californian sun rises above the buildings. At the street junctions, you can get great views down over the vast city and take in the magnitude of the bustling city that seems to be in a time warp. I don’t think much has changed here since the 60’s. Not much development, take away the modern cars and many areas could still be a scene from ‘Bullitt’

The homeless here are seemingly invisible to passers-by. As we stop at a park entrance to take pictures, one guy in his twenties with a massive beard and his entire belongings (including an ancient skateboard) in a bag over his shoulder, shuffles past. Sedd greets him with a “Hey!, how ya Doing?”, he walks past us with no reply. As we walk across the road he turns and asks us what we wanted, seemingly puzzled, maybe even fearful that someone actually interacted with him.

Further along the street, another guy in a massive parker (bearing in mind its probably 25 degrees by now) has his filthy jeans half-mast, the legs of the jeans flapping around on the floor. A weird fashion statement maybe, I then realised these jeans were actually acting as his shoes!

 

We rode through Golden Gate park, a 1000 acre public park that stretches from Haights- Ashbury down to the coast. If museums and Japanese tea gardens are your thing, spend time here. It’s a massive relief that it’s all downhill from here and freewheeling not only cools us down but gives a break from the peddling. We check out the Dutch windmills before heading along the coast with stunning views of the pacific to our left, before reaching the Camera Obscura, it’s not even open yet as its still only 10.40am and we have already done so much.

The chain has come off my bike and become jammed. With no tools and my hands now covered in oil, a passer-by cyclist offers some help. Our new elderly friend Bob is a local, who cycles this coastal road every weekend. He offers to cycle with us and basically, he becomes a free tour guide as he takes the best route through the various coastal paths towards the Golden Gate Bridge, giving us information and facts as we go.

Cycling across Golden Gate Bridge is an experience in itself. It’s a free for all as tourists with various cycling ability wobble about trying to check out the views, take pictures and not crash into each other or the irate professional local cyclists who zoom past, shouting at Japanese tourists to get out of the way. We cycle onto Sausalito for lunch and ice cream. We check out the rock balancing guy Bill Dan before catching the ferry back to San Francisco.

After a well-needed chill at the hotel, we head out to explore China Town for the evening. After walking for seemingly miles and not really finding anywhere to eat, a quick look on Trip Advisor, we find a cool little restaurant right on the edge of China Town where I have the best Chinese meal I have ever had.

We walk back through the streets of sleazy clubs and topless bars. We find a tiny Blues club, like a sort of Speakeasy, where older guys who never made it play endless jams of the same song, probably on a daily basis. One beer is quite enough and after a full day cycling, we are ready to drop.

 

Day 5 – Escape from Alcatraz to Lost Boys territory, Monterey and beyond

 

Our last half day in San Francisco starts with a visit to the world famous windy road of Lombard Street before catching the ferry to Alcatraz. The audio tour is great, with the headphones on a heavily accented gentleman leads you through the gloomy penitentiary step by step. Real accounts from past inmates and wardens as well as background noise and effects really take you back to those times, as they recount stories and breakout attempts, the murders and the rigours of daily life in the once escape-proof prison on a rock in San Francisco Bay.

I love San Francisco and am sad to leave so soon to be honest. The roads are busy and parking is ridiculous, the best way to explore is definitely by bike. But you should also take a tram grab a bowl of clam chowder and take a pocket full of quarters to spend in the Mechanical Museum. I think I could live here.

 

We get an Uber to the airport to pick up a silver convertible Ford Mustang that will be our transport for the rest of the trip! We say our goodbyes to San Francisco as we take the Pacific Highway down towards Monterey for the next part of our adventure.

The stunning scenery and coastal views as we drive, just put in mind the game Grand Theft Auto, if you have ever played San Andreas then you will know why. As we reach Santa Cruz, we head to Santa Cruz Boardwalk where they filmed the classic opening scenes from The Lost Boys. With it being out of season, the amusement park and roller coaster are closed, which at first is disappointing, but we are still able to walk through it and take photos. The desolate nature seems quite fitting as the sun sets in the sky behind the seemingly abandoned roller coaster.

Remember the scene where they hang from the bridge and taunt Michael to join them?  That railroad bridge is right there, behind the amusement park! We go and stand on it for photos like a real couple of fanboys. Is the car park to the left where they did that first kill on the security guard? it sure looks like it.

As we head back to the car, I see something moving in the bushes, I get closer to check out what I presume is a butterfly, to see a real live hummingbird! No one told me they were here in the wild for all to see, that was unexpected.

As the sun sets over the coastal views on the Pacific Highway drive to Monterey, again GTA flashbacks fill my mind as they will time and again on this trip. Every now and again, I get the urge to grab the wheel, veer off the highway and drive across the acres of farmland looking for hidden adventures. But I don’t, this is real life, not a game, this is the larger than life reality of California and we are finally living it.

We reach the hotel, drop our bags and find a local seafood restaurant where we dine on crab curry and exotic tasting cocktails.

 

Day 6 – Trippy jellyfish, the white sands of Carmel and LA baby!

 

There’s not much rock ‘n’ rolling to be done in Monterey, so it’s another tourist morning before heading down towards LA. After tucking into the biggest omelette I have ever seen while watching cormorants dive for their own breakfast in the crystal clear waters of Monterey Bay, we head over to the Monterey Bay Aquarium. Although expensive, it’s well worth a visit. Massive tanks take you to the underwater world in the largest Aquarium in the world. The jellyfish room is out of this world as crazy-colored, alien looking creatures you never knew existed bob about in front of your eyes. Hypnotising and quite trippy, it’s better than TV!

We find a second-hand record store to grab a bunch of random CDs for the road trip down to LA and onto Vegas. Our soundtrack will now be a mix of The Eagles, The Byrds, Tom Petty, Sheryl Crowe and Prince & The NPG.

We do the 17-mile drive which goes through the famous Pebble Beach golf course, with windy roads, through dense forestry with plenty of vista points to take in the stunning, picturesque views that no camera can truly capture.

The next stop is Carmel, where the sun beats down on amazing white, sandy beaches that stretch for miles. Duran Duran probably filmed a video here back in the 80’s no doubt. This small, coastal town has a completely different vibe to San Francisco. Chilled and relaxed, the cars, the building and the people tell me there is a lot of money in Carmel. Ye Olde English style shops are hidden amongst the coffee shops and restaurants and overpriced boutiques.

We grab a bite to eat and head back on the highway for LA.

 

It’s close to midnight by the time we drive up Sunset Boulevard towards the hotel. The strip is teaming with life, does it ever sleep I wonder? Too late and too tired to explore, the most we manage is a beer at a western themed bar across the road, where a dude dressed as a cowboy asks us for ID. Inside, drunken middle-aged men perform karaoke to a room packed with students and middle-aged couples, served by the beautiful people behind the round bar in the center. In the corner, a bucking bronco is in full swing, a group watch and laugh as a guy tries his best to hang on time and again. Welcome to LA!

Author : Ben Hughes

 

Dwane Peters and his US Bombs are still out there making music and dropping audio bombs on us as I type.  Always a pleasure and never a chore to find out that Dwayne has got some music ready to drop and when we found out the details of ‘Road Case’ we were excited and when it hit the death decks of HQ and hearing those crisp guitars hit the speakers we raised a smile that soon became a grin that soon became as broad as the Californian sun.

So yeah Dwayne has got a gruff razor gargling vocal style but man does his band The US Bombs peddle a blast of old-school punk rock n roll.  Imagine Social Distortion hadn’t gone folky and mix that with a healthy dose of Rancid around the time they were singing about Olympia and their roots were radical well the US Bombs sound like that then as well and still do.  The songs are melodic and always like the best must attend house party in town, just take ‘Something TO Believe In’ you can imagine singing and swiggin’ along to that bad boy and then the arrangement of ‘Never Them’ is excellent from the swirling organ and acoustic holding the base of the song to task whilst those electric guitars roll on. again another winner fro the US Bombs.

sure they aren’t going to win any prizes for originality but they keep it real and do exactly what you want them to and keep it tight and loyal to the Bombs and what they’re all about. the album just flows nicely as the songs are all pretty decent with some real highs and some quite commercial sounds like ‘Refugee’ which could be a hit for sure after the long intro the song bursts into life after about ninety seconds (almost punk rock prog).

‘Kill Kill Kill’ get a bit funky like the theme tune on the Jimmy Kimmel show or something similar its a curveball with the fiddle playing like Peters has gone all Mellencamp for three minutes and the jazz saxophone will really mess with your head.  ‘Barracuda Baby’ is a sleazy grinding number with Peters almost whispering into your speakers which is a little disconcerting but hey I’ll try most things once.

US Bombs are always a band that is tight and packed with the most excellent players (even if they are on almost thirty members) which is always going to help and when their albums crop up packed with a dozen tunes I refuse to imagine a time when it won’t be thoroughly enjoyable listen and ‘Road Case’ is no exception from the opener right through to the final hoorah of the wheezing accordion driven ‘Needles’,  it’s a winner.  God bless Dwayne Peters and God bless The US Bombs you guys rock.

Buy Road Case Here

Slope Records

Author : Dom Daley

Indonesian Junk return with a new EP of three originals and one cover. They hail from Wisconsin here in the United States and have put out a couple albums as well as past singles, a live album and an EP. This EP is not a bad place to get started if you want to get a taste of the band. Drawing inspiration from the likes of the Heartbreakers and those early bands from New York back on the 70’s with a healthy dollop of powerpop hooks, Indonesian Junk carves out their own identity to sound fresh and inspiring.

Lead track ‘When I Find You’ roars out of the speaker and finds Daniel James crooning over a cool guitar riff, and he then lays down a killer solo for good measure. This is straight forward rock designed to clear your head and celebrate life for a few minutes… assuming you are not the one he is going to beat up when he finds you. I’m always surprised more bands don’t cover early KISS songs with the excellent cover of ‘C’mon and Love Me’ sounding like they were the ones who wrote it with the attitude spilling out of James’ vocals throughout the song. Mike Mattner pounds the drums into submission, and Johnny Cyanide (bass) provides some excellent backing vocals. As the song fades out, the riff for ‘Detroit Rock City’ bubbles up for a moment and leaves me wishing the band had gone ahead and covered it too.

‘I Could Die’ opens with some nice work by Mattner to set up a midtempo song that features a slow subtle guitar riff. Unfortunately, this song lets the momentum of the first two tracks slip, and I have caught my mind wandering on this song each time I have played the EP. I think I would connect with it more in the context of an album’s worth of material. The band grab my attention back every time with the big swaggering riff and beat of ‘See the Light.’ My favorite song on the EP, this one channels all that is great with sleazy sounding rock and roll with James serving as a conduit for the likes of Thunders, Berry, and even some McCoy.

Indonesian Junk will hopefully get exposed to some new fans with this one as the EP represents a really cost effective way to start your collection if you are not already a fan. While it is not perfect, it does represent their sound really well overall with the band specializing in primal, punky, hook filled rock and roll, which their record label (Rum Bar) seem to have some innate ability to find and deliver to us.

‘Darkness Calling’ is available Here.

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Author: Gerald Stansbury