PEACEVILLE TO RELEASE THE FIRST NEW STUDIO ALBUM FROM THE NEWLY REFORMED NORWEGIAN BLACK METAL LEGENDS
FEATURING MEMBERS OF ARCTURUS, THORNS, MAYHEM & 1349
Before Arcturus there was Mortem. Bringing together members of Arcturus, Mayhem, Thorns, & 1349 for a masterwork of eerie black metal, Peaceville proudly presents the long-awaited debut studio album from the newly reformed Norwegian legends
When one looks back at the bloodstained history of black metal, the names are as familiar as those of old friends – Mayhem, Burzum, Darkthrone. But in the shadows lurked another prime purveyor of northern darkness. Formed by Marius Vold & Steinar Sverd Johnsen in 1989, Mortem was one of the first black metal bands to crawl out of the woodwork in Norway, releasing the highly coveted and brutal Slow Death demo, with Euronymous & Dead of Mayhem acting as producer and cover artist respectively. After the release of Slow Death, the band was laid to rest with members going on to form and feature in acclaimed titans such as Arcturus and Thorns, both of which would become mainstays in the black metal scene and beyond.
In a moment of nostalgia & a desire for something more brutal beyond the current vessel of Arcturus, the corpse of Mortem was revived, & the unholy duo of Marius & Steinar joined forces once more. And so the long-awaited album, titled Ravnsvart, possesses the same raw brutality & spirit as the original incarnation, plus fresh elements all uniquely woven into the fabric of the early sounds of Scandinavian black metal, & crafted into a masterpiece of sinister horror.
Joining the duo is Hellhammer from the legendary Mayhem on drums, plus Tor Stavenes of 1349/Svart Lotus on bass.
Steinar Sverd Johnsen comments on the reformation “Reviving Mortem was something we had thought about for a long time. Due to increasing creative differences, it was a natural move to drag Mortem out of the ground, and come together with other brilliant additions to the band, to make something evil, fast, and heavy as hell, borrowing elements from Arcturus and Bathory, It’s old school while being totally unique”
Ravnsvart is available to pre-order on CD, LP and digitally (pre-orders receive title track “Ravnsvart” as an instant download)HERE
Mortem have confirmed they will be appearing at Rockstadt Extreme Fest in Transylvania on Friday 2nd August, the first chance for fans to hear the new album. https://rockstadtextremefest.ro/
“We couldn’t have asked for a better location for Mortem’s stage debut than Rockstadt, right in the heart of the Transylvanian forest! We have been rehearsing, preparing and we are 100% ready, it’s a fantastic festival, and we hope that everyone will enjoy it, and yes, there are more shows to come!” Mortem
Founding THIN LIZZY guitarist ERIC BELL will release his new autobiography ‘Remembering – The Autobiography Before During And After THIN LIZZY‘ as Hardback and Audiobook, narrated by ERIC BELL in September via his exclusive Production team of the Edge productions and can pre-ordered here: www.oftheedgeproductions.com
Many years in the writing, this astonishing book, penned by Eric Bell himself, charts the life of one of the most iconic and influential guitarists in contemporary music.
Starting with his early life, details of which few people have ever had access to, this moving autobiography reveals Eric’s discovery of music and chronicles the influences that were responsible for his enduring love of the guitar. His journey culminated in the creation of one of the most loved and successful rock bands in history.
The book details landmark relationships with Van Morrison and Rory Gallagher along with many other legendary musicians. Eric talks about his life-long friendship with Gary Moore and takes you through a moment by moment account of the night that Thin Lizzy was born. Eric remembers a whole world of experiences with Philip and Brian as they planned to take over the world!
Eric shines a light on the chaotic yet meteoric rise of Thin Lizzy with sensational previously unheard stories of life on the road and in the studio. This autobiography uncovers the triumphs and the tragedies that accompanied Eric along the way, and the personal toll that they took, resulting in his dramatic and climactic exit from the band on New Years Eve 1973.
For the first time Eric discloses the struggles in the years that followed and recounts more staggering stories of life on the road in the USA with Jimi Hendrix‘s bassist Noel Redding. Eric pulls no punches on telling the truth about the good and the bad times.
This emotionally charged and absorbing autobiography is a true and moving testimony of a giant amongst guitarists.
NOW AVAILABLE TO PRE-ORDER A SIGNED COPY FOR SEPTEMBER DELIVERY ANYWHERE IN THE WORLD – Available in Hardback and Audiobook, narrated by Eric Bell: www.oftheedgeproductions.com
Every once in a while an album comes along that almost completely flies under your radar but the tunes on offer stop you in your tracks and kick you straight between the legs like some musical steel toe capped boot.
‘Black Door’ the all-new eleven tracker from Australian five-piece The Volcanics is just such a record. Boasting a Jim Diamond mix job this record cuts, like a fucking knife, the tunes are that sharp. The songwriting adding a fantastic pop twist to the already well-worn garage rock/punk rock formula that sees oh so many bands falling at the final hurdle when it comes to having that extra edge to make them stand apart.
Perhaps The Volcanics secret ingredient is the huge presence of vocalist Johnny Phatouros who shines throughout, and where some singers might just put their foot on the monitor and scream out belters like ‘Talk’ and the album’s title track, Johnny throws in off-kilter vocal hooks that at first seem at odds with the band’s throbbing backbeat, however once they sink in you cannot help but marvel at just how simple and effective his approach is. In many ways, he is like the band’s Pelle Almqvist or their Skye Vaughan-Jayne.
Talking of Skye for a moment the immediate buzz I got when listening to ‘Black Door’ for the first time was this could very easily have been the follow up to The Chelsea Smiles awesome ‘Thirty Six Hours Later’ album from 2006, and if you are familiar with that classic, you’ll know that we don’t make comparisons to that work of absolute punk rock genius that often here at RPM towers. So, if that’s sparked your interest then ‘Changes On My Mind’ is the tune I suggest you listen to first (via the Bandcamp link below) and trust me when I say “have a cold beer in hand when you press play” and “just let the music do the rest.”
With influences as wide-reaching as You Am I and AC/DC The Volcanics actually remind me more of Radio Birdman and Midnight Oil, albeit with (thanks to the aforementioned Diamond mix) a sound that manages to hammer home the intensity of the band whilst retaining the clarity of the melodies, the latter being the essential difference and why tracks like ‘2000 Years Ago’ and ‘You Don’t Even Know The Song’ work so bloody well.
To be honest I’m a little bit gutted that I’m only just discovering The Volcanics now. five albums into their career. Still better late than never eh, and when the first tracks I get to hear by them are as fucking fantastic as those on ‘Black Door’ then the real positive about this situation is I’ve now got four more Volcanics albums to look forward to catching up on.
Look I can’t recommend The Volcanics highly enough, they are chock full of positivity in an age of the negativity and I challenge you right here and now to go listen to ‘Black Door’ and not get the same buzz I did the first time of listening.
The bearded weirdos are back! The legendary “Cava of Reggae-Punk”, purveyors of hangovers with no regrets, drunken affairs with a new gender, sunrise in the city and sunset on the road, Jaya The Cat return to the UK today!
If you cant make this tour in July you have another bite at the end of the year as they’re back in December. If you need convincing how good a band Jaya the Cat are check out the video ‘Here Comes the Drums’
Details for a 9 date UK headline tour – including two dates at London’s Alexandra Palace Theatre on November 30 and December 3, 2019 – in support of his forthcoming eighth album, ‘NO MAN’S LAND’ (out August 16th on Xtra Mile Recordings/Polydor Records). Produced by Catherine Marks and featuring an all-female cast of musicians, ‘No Man’s Land’ is dedicated to the fascinating stories of women whose incredible lives have all too often been overlooked by dint of their gender. The album is accompanied by a new 13 part podcast series, ‘Tales From No Man’s Land’ (created in collaboration with Somethin’ Else), which hit #2 on the Apple UK podcast chart upon launch. Tickets for the UK headline tour will go on sale on July 19, with a special fan pre-sale via Frank’s store – https://store.frank-turner.com/.
The tour dates will see Turner put a new twist on his formidable live set up, featuring a solo set followed by an unplugged band performance in seated venues. Speaking about the format, Frank says; “For this tour, I thought it would be good to give the new album some proper attention, so the first set of mine of the night will be a solo run through some of those songs and stories; once the Souls are up with me, we’re playing around with a slightly more stripped back, thoughtful folk approach to some of the older material, which feels different and powerful. Looking forward to sharing a slightly different show with everyone for this run.”
The women featured on ‘No Man’s Land’ come from across wide geographical and historical lines. They include Byzantine princess Kassiani (The Hymn of Kassiani), Egyptian feminist activist Huda Sha’arawi (The Lioness), and Resusci Anne (Rescue Annie) an apocryphal drowned virgin whose face was used as the model for the medical CPR mannequin across the world. There’s the serial killer from the Deep South who plucked her victims from lonely hearts pages (Nannie Doss), the jazz-obsessed heiress who fought for the Free French (Nica Rothschild) and a rowdy coach house landlady from 17th century Camden Town accused of witchcraft (Jinny Bingham).
“It’s bringing together my two main interests in life, which have always been separate from each other – history and songwriting,” explains Turner, who can be found seeking out long-forgotten historical sites on self-guided psychogeographical strolls when he’s not packing out arenas or headlining festivals.
Animated video to fan-favourite and album highlight “Never Fight A Man With A Perm”. The video was put together by the team behind Fluffer Records (Al Brown, Russell Taysom & Stella Belle Hex) who have said the following about the concept:
“The idea for the “Never Fight A Man With A Perm” video came directly from the lyrics of the song and how it tackles the subject of toxic masculinity. Using a British take on the classic arcade beat ’em up platform game seemed like a cool way to put this across visually.”
While someone’s first thought might be that this is simply going to be Tyla playing guitar and harp singing the songs from last year’s brilliant album, you would be incorrect. ‘In Vino Veritas’ has been my most played album since last year when I first heard it. Those versions have really dug their claws into me and taken hold of my soul in the same way that the classics by the band and Tyla have. This is a total band effort though that is really quite magical. If we think back over time to the likes of ‘Billy Two Rivers,’ ‘Satellite Kid,’ ‘As I See the Poppies Falls,’ etc., the Dogs have never been ones to shy away from playing acoustic songs and giving them some kick when needed. This collection of Dogs are simply on a roll with this being the next perfect feather in their cap.
In terms of the songs, everything follows the same running order from last year’s full blown electric album. Many of you reading this will have heard ‘111’ acoustically in the past on the ‘Bloody Hell-Fire’ album and others spots, but this album is significantly different. This one feels a little grittier with the great piano in the background giving it a bit more color. The chorus is still huge and sets the stage for an album that really comes alive in the darkness of night. ‘Black Confetti’ begins with piano and the opening lines before the rest of the band join. The opening lines certainly paint a picture with the song feeling like it could have been lifted from ‘A Graveyard of Empty Bottles.’ The backing vocals are exquisite, and this is simply a great Dogs song. Next up, we have ‘Bloodline’ which took the longest for me to warm up to on the electric version of the album. It gets some swing here, and the added organ is an awesome touch. The chorus seems to carry more weight here for me. The piano that gets added with the organ in the second verse jumps out of the speakers. This song really shines more in this format for my tastes.
Dogs classic in waiting ‘Bottle of Red’ has already proved to be a live favorite. If you have been collecting the b-sides, you will already have an acoustic version, but that version is really not a full band version like we have here. This one still bounces like the electric version with the whole band rocking. This feels a bit like ‘She Thinks Too Much of Me’ with some similar country sounding guitar licks. With everyone singing the chorus, this is the sound of a band lost in a glorious moment. I was really curious how ‘Chicago Typewriter’ might be presented as it is another of the hardest hitting from the electric album. We have no sirens welcoming this version. Lyrically, this is the simplest the Dogs have ever been with the vocals really being more of an additional instrument. This version also kicks butt with Tyla in prime form. The haunting group vocals add to the ambiance of the song with the song gaining in intensity as it grows. The celebratory, jubilance of ‘Empire’ is slowed down here, with the electric guitar riffs sizzling on the acoustic frame. This one never fails to put a smile on my face with Tyla again laying down an awesome lead vocal while the band adds in a lot of ‘Woah’s’ in the back of the mix. It provides a great close to the first half of the album.
Kicking off Side 2, ‘Everything to Me’ feels like it has more teeth here than on the electric version, even though it remains a midtempo jewel. The ‘sha la la’s’ again providing an extra element to the song with the chorus being another one that compels a singalong. It also hits on an element the Dogs have had since I first heard them over three decades ago. The lyrics hit the heart and soul. They are real and feel tangible. The first song I got to hear from this album was ‘Fuck Off Devil,’ and it showcased how different some of these songs would ultimately feel. This is an acoustic blues assault that adds tempo and attitude to the original. This feels like walking in on a jam session where the spirits are in full effect. As much as I enjoy the electric version, this acoustic version could have just as easily fit on that album as the slow blues break it gave the electric version, it flips the switch here and gives the acoustic version a blast. Another Dogs classic in waiting ‘I Don’t Love Anyone’ follows and showcases that a happy Tyla can write one heck of a love song. This also showcases that I really cannot say which version of the album is “better” because, at the end of the day, these are 12 awesome songs that are done two different ways by a band that is swimming in a pool of perfect chemistry.
Approaching the last three songs remains bittersweet because it means the album is ending, one of my favorites from the electric version ‘In Vino Veritas’ remains a magical piece of music. This version reminds me more of something that could have been on ‘The Life and Times of a Ballad Monger.’ I love how the instruments get added into the mix as it goes with the horns coming to life. The guitar picking here pops as well. The bluesy ‘Monster’ opens feeling more like a blues standard from the likes of Wille Dixon. The harmonica and piano filling out the song and working perfectly with the groove. ‘Movie Star’ concludes the album with an upbeat acoustic rocker that serves as a great closer. The closing lines here connect in a similar way to those last lines on ‘She Put It In Here Arm’ did.
Our Dogs on this album remain the same that they have for the last several years which has only made their output more awesome in my opinion. We have:
In addition, Phil Cassidy plays Mandolin, and Ian Douglas handles the Saxophone.
This album was announced around the time the electric album launched, and the wait was well worth it. ‘In Vino Veritas’ has constantly found itself as my go to album for the past 9 or 10 months, and I have a strong suspicion this one will be the exact same way. You can pair it with the new ‘A Graveyard of Empty Bottles’ for an acoustic double album blowout or mix and match it with the original album. At the end of the day, the Dogs catalog has continued to grow with this album being another awesome addition to the discography. I think it is a must own for Dogs fans and anyone else who enjoys great songs with an acoustic frame but venom in the blood.
First up what makes a bunch of guys who are old enough to know better pick up some guitars and play punk rock n roll?
Jonny- I’ve been playing music for over 30 years, it’s just what I do. It’s not that we just picked up guitars, we never put them down. I started playing music in the 3rd grade and was the lead singer of a punk band with my brother and his friends when I was 8 or 9. We were called Peanut Butter Wolf. I definitely didn’t know any better at that age and just kept going. My big brother Chris later picked that band name (Peanut Butter Wolf) to use as his DJ/Producer name. He founded and runs one of the most respected hip hop indie labels out there called Stones Throw Records.
Neil- I’ve been playing since age 13 . I’m daft and I’m not qualified to do anything else. I also feel it’s important as an older dude to help keep rock and roll alive. Does my contribution matter? Probably not, but I can just convince myself that it does and continue to do this until I’m blowing spit bubbles and shitting myself in the nursing home. I also need this kind of release or I’ll rot like whatever the bubbling ooze is that’s in the so-called “crisper” in my fridge.
It always matters Neil
Thor- I can’t imagine doing anything else, started playing out in San Jose at age 16. My other band FlexxBronco just came off touring and we had a break when I saw Jonny post a random ad looking for a drummer. I’d known him for over a decade from the scene, and everything lined up. We came from the same influences of Southbay Skate/Surf/Punk/Rock, so jamming and writing music just rolls and feels good. Neil stepping into Bass in addition to producing is priceless. I say we play, because we still get off on it. Some people spend their weekends playing golf and looking pretty, we choose to rock and get dirty!
Can you remember the first record you heard that made you think – I want to do that?
Jonny- I remember seeing the movie Back to the Future in the theaters and I wanted to be Marty McFly so bad. On the way home from that movie, we stopped at the store and bought my first real skateboard. The movie kicked off my love for skateboarding and Chuck Berry. Sure, I rode a plastic toy skateboard down my driveway before seeing that movie, but seeing Marty jump curbs and hang onto cars was electrifying. It opened up a whole new world. Skateboarding went from a toy I rode down my driveway on my butt to a legitimate action sport and a lifestyle I live to this day.
.Neil- Meet the Beatles. I was 5 years old and incessantly mimicking the whole album with a plastic toy guitar and waking up my baby sister while doing so.
Thor – Van Halen 1984, I idolized Eddie Van Halen as a kid, this was the first album I ever bought.
Tell us how the band came together?
Jonny- I was playing in 7 bands at the time. I was the town hired gun who played bass, drums or guitar in one band or another on any given night. It was common for a band practice to get canceled at the last minute, so when that would happen, I’d go into my garage and record tracks by myself. It started as a way to kill boredom. I’d write a song on guitar within 10 minutes, play it 4 or 5 times on an acoustic to memorize it, run downstairs to the garage, point a shitty mic in the direction of the drum kit, hit record on my cassette 4 track and I’d play the drums to the song stuck in my head. Then I’d run back upstairs, plug in my guitar into one of those tiny battery powered amps, stick that shitty mic in front of it, hit record on my 4 cassette track and track the guitar to the drum track I just laid down. Then, I’d plug my bass directly into the 4 track and track a bass line. Once I had all of that, I’d play the song on repeat, pull up a word doc and write lyrics. Once I had lyrics, I’d use that same shitty mic and track my vocals on the last open track. I would track the guitar solos on the vocal track between the vocal phrases and a song would be completed on a cassette. This process of having the idea to having a completed recorded track typically took an hour. I made a myspace page (this is 2006 mind you) to host the first song so I can show my friends and one song turned to fourteen in the course of a few months. It was never meant to be a band, it was just a fun activity when I had idle hands. If band practice got canceled, I’d write and track a new song. I was single then and had so much time on my hands, it kept me busy between band practices. People started saying, “this is good stuff man, you should do an album”. So I booked studio time with Joe Clements from the band Fury 66 at his studio The Compound in the Santa Cruz area and tracked the first Depressives record titled Rebound Town. I mainly did this just to see if I could. I was challenging myself while spreading my wings as a songwriter and musician. Once I had a completed studio album done, I put together the first lineup and we started playing shows. There have been many lineup changes throughout the thirteen years, but the current lineup has been together the longest
Neil- Jonny can tell you the story of the evolution. I’m a latecomer who was asked to join and then agreed to be the bass player against my better judgment, but since I was already recording the band and Jonny knew I played bass, both he and Thor asked me to join which I was reluctant to do at first and then said fuck it let’s rock!
Thor- mentioned above already
what about the songwriting who writes the tunes and how prepared were you for the new record?
Jonny- I write the songs. Writing is only done when warming up at band practice. I’ll pull out my iPhone and record the idea as a voice memo so I don’t forget it. The guys learn it a few minutes later and if it feels right, we set up mics and track it. We’ll use that live recording as the foundation of the song and build it from there with overdubs. Those first run-throughs of the song are what you hear on the album. We write while we record. It’s a simple, organic process. The songs kinda write themselves. The lyrics are a pain in the ass though. I always write lyrics last because I absolutely hate doing it. I usually write the lyrics in the mixing room once all of the instruments and overdubs are done, then immediately walk into the live room and track them. What you hear on the albums is basically me reading the lyrics off my iPhone and singing the song for the first time to the track. It’s pretty hokey, but that’s our process. Neil and Thor can just jump in and start playing along whenever I get an idea and the songs are usually put together in a few minutes. We can read each other like that. It’s pretty awesome having that type of synergy. It’s very similar to the cassette 4 track writing process that kicked this all off in the first place. It’s very spur of the moment with nothing premeditated. We don’t rework songs when the idea is there, we run through it a few times and that’s the song.
Neil– Jonny writes the songs. Thor and I come up with our parts unless Jonny wants to hear something specific for our parts. Prepared? I think we worked pretty much everything up, practiced them in a pre-production sense and sat on them enough to develop our parts over time. Some parts were instantly right for the song some took more thought or were unfortunately over-thought at times. We were prepared in the sense that we knew what we were doing going in, established our parts and tracked the basic tracks live, no click
Thor – we write on the fly. Jonny usually starts with a riff, and we have the basic structure figured out within working through a few takes, Then record immediately (no click, all feel) to capture the initial energy we felt while writing it. Then Jonny writes hooks/lyrics over them about things that are happening in his life at that moment. Straight up no bs punk rock. Live tracking is key. We are becoming a more well oiled machine each time, it’s fun!
The record seems to have gone down well in the punk rock n roll community tell us a bit about the new record?
Jonny- We were just recording tracks as they were being written. We had a handful of songs and we talked to Brett at Gods Candy Records about him releasing a 7″. A 7″ turned into a 12″ real quickly because once we started recording, we ended up having a new song at each band practice. I started to show Brett what we were writing and I said, “we’re almost done with an album, why don’t you put out an album?” He agreed and Anybody Wanna Skate the album was in the works. Neil went through hell trying to mix 12 songs recorded on different days, with different mic placements and track settings/EQs. I know it wasn’t as fun for him at times, but we’re all happy that it’s done and we’re happy with the sound. Mixing took longer than writing and recording actually. Sorry, Neil.
Neil- It was fun, it wasn’t fun, it was exciting to put together at times and at times it nearly drove us mad and made us want to quit music altogether. Literally. For me anyway, maybe a little bit Jonny too. I recorded this record and put a lot of hours into mixing it, Hearing it differently every day is the definition of insanity
Thor- we kept it simple, no cheating, live tracking fast songs for ADHD driven minds that are over before you know it… fuck you, diy, about as punk as you can get
where was it recorded?
Jonny- In my garage on a MacBook Pro. We’re literally a garage rock band. haha
Neil- We have a secret studio named Cup O Pizza. Shhhh
Thor- the infamous Cup-O Pizza by Neil Young, lol. DIY in the garage.
when did you decide you had enough for an album?
Jonny- We decided we had enough material for an album when we got to 12 songs and I didn’t want to write anymore. I always shoot for 14 songs, but by the time we got to 12, I was exhausted and said, “ehhh, it’s 12 songs and over 20 minutes, let’s just call it a day. Fuck it, it’s short, sweet and no filler.”
Neil- Don’t know how it wound up at 12 songs but I guess we just didn’t want to do anymore or didn’t have any more to give
Thor- felt done, so we stopped
was it always the plan to record an album or just get as many tracks down?
Jonny- I like to record albums. Our partnership with Gods Candy started out as doing a 7″, but I’m always writing with the plan to release an album. We have six full-length albums and two 7″ records. The 7″ tracks all appear on albums eventually. They are more or less a way for us to promote the upcoming full length. We’re a full-length band, I don’t like EPs much. Sack up and write an album
Neil- Started as a 7″ project and then our label guy Brett got stuck with a full length LP (to us full length is 12 songs in 22 minutes) as we started hammering out more songs and got excited about how they were developing. Sorry Brett. Hahaha
Thor- with recording as much as possible, constantly being focused on getting it all more dialed in and having fun, albums are popping out. Every time we sit down and jam/write, we’ll have 2-3 ideas that quickly become 12
What inspired the songs on the record?
Jonny- Quitting drinking and dusting off my skateboard.
what next? Is there a chance of tour dates to support the record? what about further afield?
Jonny- We’ve been playing lots of out of town weekend shows since the album came out. We’re doing some shows in Mexico in September at a Turbojugend event. This is more of a hobby for us as we all have families and day jobs. It would be nice to play Europe or Japan, we definitely have fans there, but it wouldn’t be very realistic at this point. We are 3 dads having fun, playing in this band is our “bowling night.”
Neil- Well, we have jobs and careers and families and such so any extended touring is going to be out of the question. We have been weekend warriors on the west coast California and for the right situation would do a fly away weekend in the US as our schedules, families and money allows
Thor- have fun, keep building out our catalog and playing as much as possible
Are there any other bands that inspire you to keep playing rock and roll?
Jonny- The Sonics! They’ve been at it for almost 60 years, still playing shows, still releasing amazing, relevant records. I hope to be doing the same when I’m in my 70’s.
Neil- For me there’s just so many of them right now. When I see Radio Birdman still out there doing it (albeit obviously without the classic line-up) and sounding as great as they sound these days, I’m inspired. Any of our grey headed peers out there still doing this and doing it well and without compromise inspires me. hahahah I love The Hip Priests for their uncompromising, unwavering, single minded commitment to what they do which is just full on scorching 21st century garage punk and of course their work ethic, our Houston brothers Satanic Overlords of Rock and Roll who are also amazing and undying in their lust for rock and roll. Everybody’s contribution is inspiring right now and makes it feel like there is still a rock and roll mission to accomplish, which I think there still is
Thor- newer bands like Giuda (from Italy), The Schitzophonics (from SD, not sure i spelled correct), events like Punk Rock Bowling (Vegas), and with bands like Turbonegro, The Hellacopters and Gluecifer playing festivals across Europe again. Other up and coming bands like the Hip Priests (UK) and Against the Grain (Detroit). Besides for venues closing everywhere with less people going out and the cost of touring being so high, it’s a pretty rad time for rock.
the artwork on the last two records has been superb tell us how that came about? an old fav of mine The Disconnects from Jersey had similar artwork from the pork guys how did it come about?
Jonny- We were lucky to be put in touch with artists who get our vibe, know what we’re going for and just made amazing art for us. We feel the artwork almost tells the potential buyer what to expect without even hearing us. I am a huge fan of monster/rat fink art as well as early 80’s skateboard art. Our artwork is basically those two worlds mashed together.
The video for Anybody Wanna Skate looked like a lot of fun you all still skating? if so who’s the best?
Jonny- I’m doing most of the skating, my son JD who was 6 at the time has some clips in there as well as the park locals, my crew of friends, we call ourselves The 9 O’Clock Crew.
Neil- No comment N/A hahahaha
Thor- we are lucky to have access to an ex-pro skater ;), and some bad ass artists and videographers
you must get a buzz outta seeing some guys in Germany or the UK pick up on your music – you played with our good friends the hip priests a few years back how about you coming over this side of the pond for some shows?
Jonny- It’s very exciting for us. The Hip Priests rule! I would like to give a shoutout to Austin Rocket’s mom ;).
Neil- Well, excited and grateful to see we are getting web traffic, spins and reviews worldwide now. I’d love if we could hit Europe for a shorty, but I’m not sure it will ever happen. I’m at least hopeful hahahaha. Anybody want to book us for festivals? Anyone?
Thor- Hip Priests new album kicks ass, happy to see them getting some buzz. Would love to play Germany, UK and across EU, hit us up, let’s make it happen!
what next for the band?
Jonny- Keep writing and releasing records until we can’t physically play. We’re always writing and recording.
.Neil- There’s more shows lined up, but I think it will be writing time again pretty soon. Don’t know about after that. Keep putting out records I guess. Stay warm. Stay friends. continue to do whatever it is that comes up next
Thor- keep rockin with my friends and putting out music we like
finally anything you wanna say? heres your chance
Jonny- Thank you RPM for the love. Thank you to my wife Mandy, my daughter Zoey and my son JD for the love and support. They understand I need to play music to stay sane, so big thanks to them for understanding when I’m in the garage practicing or out playing shows. Thank you skateboarding. Thank you, Neil and Thor, for being the best friends and bandmates a guy could ask for.
Neil- This band is a fun band to be in and I’m grateful for the opportunity to play with 2 of my best friends. Buy our records, spread the word and thanks to those who already have and support what we do
Thor- I love this shit. Thanks to everyone who has supported us over the years, especially our very understanding families. It takes a village, and we are lucky to come from a cool hood.
John Anthony Genzale would have been 67 today. Who knows what really happened at St. Peter House New Orleans I guess we’ll never ever know. What we do know is the former New York Doll and leader of the Heartbreakers was a unique legend who influenced so many and continues to touch the lives of so many through his music HEre at RPM Online we will never forget Johnny Thunders – Happy Birthday Johnny Wherever you might be cheers!
Houston rockers return with a new EP that rips like the Tazmanian Devil tearing through your living room for about 15 minutes and leaving carnage in his wake. This EP succeeds by packing some great riffs with solid hooks that actually leave me thinking more of old bands like the Little Kings, Heartbreakers, Motorhead, and at one point even the Royal Court of China came to mind. I am pretty sure the tempo picks up a bit in the live setting a la the Ramones.
At less than 2 minutes, the down and dirty ‘Somethin’ comes straight from the same sordid streets and back alleys the Little Kings did 30 years ago. My biggest complaint is that the song could have been stretched out for another verse to give it a little more meat. The guitar riff by Glenn Gilbert is awesome. While the vocals are admittedly somewhat one dimensional here, I think that’s part of the charm with the band picking some great places in the record to apply backing vocals. The hard driving blues beat and riff of ‘Austin’ works perfect following the opener. The hook sinks into the brain so fast that you will be singing ‘in Austin’ with Bill Degidio (also guitar) by the middle of the song.
‘On the Street’ finds the band capturing magic with possibly my favorite (and longest at 3:28) song on the record. The groove laid down by Jewels (bass) and Andy Kaos (drums) set up Gilbert’s riffs with the song initially hitting what seems to be the finish line after 90 seconds before it kicks into another gear. This is some great straight forward RAWK that emphasizes the roll as well. ‘Lost Another Night’ is our other longest song at just over three minutes. The mix here by Karim Khorshid is perfect as it feels like everything can be heard without losing any power. The extra time on these 2 songs really gives them great dynamics, and the chorus packs some extra punch as well with it being a little more wordy than the first two songs.
We get back to another fast rocker with ‘Pretty Kitty’ which suffers a bit because of the quality of the other songs here, both before it and after it. The break in the song that hits after the first minute and sets up the guitar solo connects with my soul every time though. Finale ‘I’m Goin’ Down’ rides an awesome riff that channels the Heartbreakers, right down to the vocal pattern. This currently stands as another of my favorites.
When this EP connects with me, it is downright awesome and highly recommended for a spin. At the end of the day, my couple quibbles with it are downright minor and more a reflection of how awesome the material is. Give this a listen on bandcamp and then click on the ‘buy’ button. You will be glad you did.
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