Ancient Shapes/The Violent Hearts/Human Heat – Newport, Le Pub – 17th October 2018

Ancient Shapes/The Violent Hearts/Human Heat – Newport, Le Pub – 17th October 2018

Johnny Hayward.

It’s no strange coincidence that at least five of the best gigs I’ve seen so far this year have all taken place in Le Pub, a venue situated just a few miles away from my front door. The owners and local promoters have certainly been working tirelessly against the tide of arena/tribute bilge that is strangling the UK live music scene at the moment to quite rightly deliver real quality live propositions for punters. and its three bands bills like tonight that really do stick a middle finger up at what everyone else appears to be doing.

Granted coupling Canadian garage punks who most people in the UK will probably not have heard of along with two local(ish) bands might not exactly sound like the second coming, but if you hadn’t already heard Ancient Shapes before tonight there really is no excuse for musical ignorance in this age of the interweb. Admittedly it took me a few listens to realise that contemporary country singer Daniel Romano was also the Daniel Romano fronting Ancient Shapes, such is the shift for him musically with this project, but once it had all clicked into place and I had managed to procure a copy of the band’s 2016 self-titled debut record this was always going to be a must see gig for me.

It’s such a shame then that more people hadn’t done the same levels of research I had because Cardiff trio Human Heat gets to open proceedings tonight to only a handful of people. Ploughing into their set of intricately constructed alt-rock and only receiving a smattering of applause in return. Its moments like these that make me so angry about the UK music scene right now,  but you know what, if people can’t be arsed to venture out the door to their local club to support new bands then they deserve to be paying £50 to £100 to be watching a few dots on the horizon in some fucking aircraft hangar, or worst still the £10 to £20 they are willing to part with to watch blokes pretending to be bands they never saw or liked the first time of asking. That’s right fuckers leave all the hard work to us if you want, then rejoice in the fame by association if a local band does finally make it big… Look don’t get me started, this is supposed to be a live review, not a rant.

Thankfully my faith in humanity is almost restored by the time The Violent Hearts take to the stage with the venue having noticeably filled up and all that inner rage I was feeling immediately subsides as I can now rejoice in the inner rage of someone else instead. Melding the post-punk angst of Joy Division with the spiky punk pop sensibilities of Newport’s very own 60ft Dolls The Violent Hearts are certainly a very intriguing proposition. With singer/guitarist James Mattock and bassist Carl Murrihy having previously worked together in Sharks and with Mattock currently in White Trash with drummer Aidan Sin (their post Computers band) I kind of have a sixth sense about what witnessing The Violent Hearts live might be like. From the off their energy levels are enough to put a Duracell bunny to shame, however sonically this is very much a different thing from the guys. Okay at times there is still the odd hint of Strummer in Mattock’s voice and the rockabilly shuffles that Sin also delivers when sat behind the boogie-woogie master Henri Herbert do creep into proceedings every now and then, but that’s really where this all stops and the musical alchemy these boys practice begins. With little to no between-song banter and just the dissonant sound of a Jazzmaster left to chime in each new song the 30 odd minutes the trio are on stage is dark and compelling stuff, Tonight’s set closer ‘Hex On Me’ is perhaps the trio’s defining moment and for the sake of your  own sanity I’d suggest you either go check it out on Bandcamp right now or perhaps better still go see The Violent Hearts and hear it live. Tell them RPM sent you.

The Bob Dylan-esque image I had in my head of Daniel Romano from the cover of his excellent 2015 album ‘If I’ve Only One Time Askin’’ is a far cry from the guy strutting around Le Pub tonight. Gone is the neckerchief wearing, cigarette smoking bequiffed folk rock muse and in his place stands a preening ice cool rock god clad in denim and sporting mandatory sunglasses indoors. He appears by his very nature equal parts Kory Clarke and David Johansen. Quite why he’s also decided to top this image off with a ludicrous blonde mullet wig is beyond me though, but then again when you’re a sucker for detail like Romano then I guess you’ll do whatever it takes to get the mood right, and here he plays the part of rock star frontman to perfection and here along with the four other musicians that make up the touring line up of Ancient Shapes they create a seismic force of pure rock ‘n’ roll energy designed to produce sweaty mosh pits wherever they play.

Influence-wise they display these very openly when just two songs in they deliver a stunning cover of The Who’s ‘I Can’t Explain’, but for me it’s the spirit of New York that burns brightest during the powerpop punk rock blasts of ‘I Wanna Put My Tears Back In’, ‘Hurricane Lady’ and the band’s signature tune ’Ancient Shapes’ which coincidently is also the longest of their songs clocking in at around the two and a half minute mark just because it has a Tom Petty-like midsection breakdown before it once again speeds off faster than ‘United Blood’ era Agnostic Front.

From the band’s just released second album ‘Silent Rave’ ‘Mental Slavery (We Can’t Quit) is amongst the most immediate of the tracks I’d not heard before, and I can honestly think of no better way of ending proceedings than by blasting through the infectious and ridiculous ‘Giant Comma’ a truly fantastic song that somehow makes me wonder what those short educational films on Sesame Street might sound like if it were soundtracked by The Hives.

At the start of this review, I stated that Le Pub had been home for five of the best gigs I’ve witnessed in 2018, well you better make that six because tonight was everything that is great about rock music right now. The only thing missing was the Sold Out sign at the door.

 

Facebook Ancient Shapes

Facebook Violent Hearts

Facebook Human Heat

 

 

King Brothers – ‘Wasteland’ (Hound Gawd! Records)

King Brothers – ‘Wasteland’ (Hound Gawd! Records)

Ben Hughes.

In another dimension in space and time Jon Spencer Blues Explosion comes from Japan, the only English word they know is “yeah!” and they are called King Brothers. We must all hail their trashy brand of Japandemonium!

Unless you can read Japanese you will be hard-pressed to find any information on the interweb about King Brothers. Formed in Nishinomiya City in 1997, the band is known for their hyperactive and destructive live shows, they have even been banned from performing at several venues in Osaka. From what I can make out they have a dude called Keizo on vocals and guitar, a guy called Marya who shouts and plays the guitar too, and a hard hitter called Taichi. They did have a bassist, but I believe he imploded due to rocking out too hard!

 

‘Wasteland’ is the sound of raw, live energy pumping on your stereo. The King Brothers live show distilled into 11 hard hitting blasts of noise that will have you shaking like a loon and fighting the desire to stage dive from any given object.

From the cool as you like opening title track with its swathes of Hammond and blues harmonica workout, to the closing bastardisation of a Stones classic lovingly re-titled ‘Sympathy For The XXXX’, they garagify ( I made a new word!) everything they touch. And there’s a sort of post-apocalyptic feel to the whole thing.

The “Oh Yeah” refrain of ‘No Want’ was enough to draw me in. Check out the video, now that’s a band you wanna see live right? Yeah, I’m sold hook, line and sinker baby!  With surf guitar licks aplenty and urgent beats, it’s over before you can order a round of Sake, a veritable smorgasbord of high energy musical chaos.

What you hear is what you get with King Brothers, two guitars, pounding beats and undistinguishable shouting make up their marvellous trashy noise. Sure, they also throw in a mean, bluesy harmonica now and then to break up the monotony (yeah right, monotony is not a word in the King Brother vocabulary!)

‘Odorushikabane’ with its full-on harmonica intro takes the garage rock blueprint right down to a steady groove, it has a New York Dolls thing going on which is always a bonus in my book. The overly cool ‘Kick-Ass Rock’ channels Blues Explosion with fuzzy bass and indie beats aplenty and ‘No No No’ is ‘My Generation’ on crack and a sugar buzz fix, a riotous cacophony of noise.

Mental instrumental ‘Bang Blues is cool and the repetitive strains of ‘No Thanks’ sorta sounds like The Strokes with a rocket shoved up their collective skinny arses!

 

The power of rock ‘n’ roll defies the language barrier and ‘Wasteland’ proves music truly is a universal language. I don’t have a clue what they are singing about and I couldn’t care less, because when the needle hits the groove of a King Brothers album you will think of nothing else but losing your shit! Bring on the live show.

Buy It

Facebook

 

 

 

24 Hour Punks ‘Why We Fight’ raise superb amount for charity

24 Hour Punks ‘Why We Fight’ raise superb amount for charity

Following the fundraising at Boomtown in August, the wonderful team at AMMF updated on how much has been raised by this project so far:

£4,315.94 (inc Gift Aid) ????????????

They said via their facebook page, “This is absolutely incredible. Thank you to EVERYONE who bought the music, a t-shirt, came to either of the shows or helped spread the word.”

They’re still collecting donations through Bandcamp, so if you haven’t yet bought the EP (written, recorded and released in 24 hours last July) you can do so at the red link.

Millie Manders – Vox
T.J (Bar Stool Preachers) – Vox
Lucias (Call Me Malcolm) – Guitar
Aiden (Skaciety) – Guitar
Arvin (Popes of Chillitown) – Bass
Pierre (Battleska Galactica) – Drums

You can read Nev’s piece about  the new face of Ska Punks Who knows you might find your new favourite band.

Rainy Days And Mondays

Rainy Days And Mondays

It’s that time of the week again most of you will be sniffin’ the armpits of that shirt you threw on the bedroom floor Friday after work to see if its ok to wear this morning.  You check the bread for green dots before the first cup of instant coffee daydreaming about what can possibly make what you are about to do more bearable and you remember that for the last few weeks you’ve tuned into RPM Online for a quick fix and a shot of Rock and Roll to start the week.

 

Up this week Gerald has picked three tunes for your entertainment that should just about raise a smile and tell you its only four more sleeps til the weekend.  Fill yer boots…

American Heartbreak

Reverend Backflash

The Cruel Intentions 

Visit their social media and tell em RPM sent you-

 The Cruel Intentions on Twitter 

The Cruel Intentions Facebook 

Reverend Backflash on Twitter

Reverend Backflash On Facebook

 

Tyla’s Dogs D’amour – ‘In Vino Veritas’ (King Outlaw)

Tyla’s Dogs D’amour – ‘In Vino Veritas’ (King Outlaw)

Gerald Stansbury

Wow… I mean… just wow. This album is a wonderful and tremendous addition to a Dogs D’amour discography that began with ‘The State We’re In’ 35 years ago. There will be those that may refuse to give this a chance, and that is really unfortunate for them. I would consider this the first proper album under the Dogs D’amour name by Tyla, Gary, Matty, and Simon even though they have been recording together for several years now. This album is truly made to feel like a Dogs D’amour album as opposed to a Tyla solo album or the Tyla J Pallas Band. It is not a secret that the last two new studio albums ‘When Bastards Go to Hell’ and ‘Let Sleeping Dogs’ were not everyone’s cup of tea, a bottle of jack…. or maybe I should now say bottle of red. Those albums really reflect a different moment in time where this feels much more like the follow up to ‘Happy Ever After’ in terms of style, sound, and approach. For me, this love affair started back at ‘In the Dynamite Jet Saloon’ which remains my favorite album of all time. The band was refreshing among the wave of hair metal bands that often blended together thanks to the other influences they incorporated such as the Stones, Faces, Hanoi Rocks, etc. Tyla’s lyrics were much more relatable to people like me who would try our best only to find out that sometimes the bad guys win despite our best efforts. Albums such as ‘Errol Flynn’ and ‘More Unchartered Heights of Disgrace’ are part of my DNA at this point. Over the years, Tyla has released a tremendous number of solo albums and projects as well as a couple of albums with Spike from the Quireboys. There has always been a difference between that work and Dogs D’amour albums which is partially where the lines got blurred in my mind on ‘Let Sleeping Dogs’ and ‘When Bastards Go to Hell.’ What we have here though is an album that has its very own identity but captures a true band effort and sounds like a Dogs D’amour album…. A damn awesome one too.

Getting the album started is a stomping version of ‘111,’ which will be familiar from Tyla’s solo work. This version though packs more venom and punch. This is a great opener along the lines of ‘Drunk Like Me’ and ‘What’s Happening Here.’ The guitars burn sharply in the mix with the outside production evident at the outset. The album transitions to the gorgeous ‘Black Confetti.’ The use of the saxophones here is perfectly placed, and the way they arrive after a brief pause at the beginning of the song is sublime. This is not your typical single by any Dogs D’amour incarnation and all the better for it. This is an opportunity for these Dogs to flex some musical chops and create a magical moment. For those of us that pledged, we got to hear just a bit of the up-tempo ‘Bloodline’ that rocks in a similar manner to ‘What You Do’ and ‘Lie in This Land.’ The bass by Matty has some added pop in the mix which really stands out at the beginning of the song. Tyla sounds sensational here. He would never win on any of those reality singing shows, but his vocals have always been more about character, heart, soul, and distilled from the finest blend of rock n roll spirits. I will take that everytime. I really love the guitar solo here by Gary as well.

‘Bottle of Red’ stands out as a future standard in the live show where everyone is singing along at the top of their lungs. Lyrically, I would say that it is like the uplifting cousin of ‘Satellite Kid’ as the music creates much more of a ‘Singin’ vibe from ‘Happy Ever After.’ The band adds some awesome saxophone here which creates some additional depth in the music. A Tyla spoken word ad-lib at the end is another very nice touch. I should mention again here that the mix and production on this album is excellent and truly showcases how great these songs are. Since I am reviewing the vinyl version, the midtempo ‘Everything to Me’ represents the end of Side One. Matty’s bass lines get a chance to stand out here as well as the tasteful guitar lines by Gary and Tyla. With a strong vocal hook carried by Tyla already in the chorus, the band adds some background ‘ooh Sha la la’s’ for good measure. What really stands out is just how happy Tyla sounds as these two songs feel like celebrations. Something I have not mentioned is that this album steers clear of the traditional ballads and acoustic numbers. This is a rock album through and through.

Flipping the record over, the uniquely titled ‘Chicago Typewriter’ begins with gunshots and sirens. Musically, this is a hard blues number driven incredibly well by Simon (drums) and Matty (bass) so that Gary and Tyla can add some great bluesy riffs to the mix which are complemented by a simple and highly addictive vocal hook. In some ways, this song recalls the best of where Tyla had gone on ‘Let Sleeping Dogs’ or ‘When Bastards Go to Hell’ but with a much more listener-friendly production style and mix. It provides a great rocking start to the second half of the record. The single in waiting ‘I Don’t Love Anyone’ follows with its tasteful piano and saxophone sounding amazing in the mix. This song should come with a warning label or two as I can’t help but find myself smiling when it plays and singing along. The loving message shows that even though good guys don’t win all the time; they can win from time to time so let’s take a few minutes to celebrate finding the love of our lives while we can. Up next is the title track ‘In Vino Veritas’ where the band brings in some more tasteful saxophone as Tyla tells us a tale as only he can. This is one song where I do wonder if these gentlemen revisiting Tyla’s ‘Nocturnal Nomad’ album recently added some new ingredients that had never really been on a Dogs’ record in the past. Lyrically, this song feels more like the characters and stories from that album as opposed to the characters we met in ‘Hurricane’ or ‘Baby Glass.’

As we approach the end of the vinyl version, ‘Monster’ slithers and struts out on a biting sustained blues riff. Over the course of these songs, the band really explores multiple musical avenues and back alleys with ‘Monster’ creating an awesome groove with added harmonica and organ. I love the guitar riffs and licks throughout this one with it becoming more and more of a favorite with multiple listens with a wonderful howl added at the end for good measure. ‘Movie Star’ serves as an epic finale that brings everything together over the course of its nearly 5 minutes. There are multiple vocal hooks that can kill at a long distance, great guitar work, rocking piano, and a great beat. The extended musical outro is not to be missed as the song eventually slows down for one last vocal before we hear the arm raise and the vinyl come to a stop.

Some people may approach this album with reservations, but I would urge you to check them at the door. This album exceeds every expectation I had and makes me hope that we don’t have to wait too long before we get a follow up from these guys based on how awesome this is. Tyla’s Dogs D’amour acknowledge the long history of the Dogs in many ways but more importantly, add to the band’s magical history with an album that can stand proudly with every record from their past. With two additional songs ‘Empire’ and ‘Fuck Off Devil’ added to the CD and download versions of the album, there really is no reason to not check out this album. Quite simply, this is a magical record.

‘In Vino Veritas’ is unleashed November 16th

Facebook

PLEDGE

Interview here

Nicotine Pretty, ‘Real Life Glories’ E.P (Glunk Records)

Nicotine Pretty, ‘Real Life Glories’ E.P (Glunk Records)

Martin Chamarette.

“Ace Welsh, punk power-poppers” Nicotine Pretty are back, with a blast. If you’re already acquainted with their previous tracks, ‘Who’s Gonna Save My Soul?’ and ‘Nicotine Pretty’, this will come as no surprise. This E.P includes said tunes and four newies. 

The opener, ‘Bygone Boy’ fair roars out of the speakers; “whoah!” indeed. Like the Manics rubbing up against the New York Dolls, it’s 2 mins 50 that you’ll want to stick on repeat. Ginge Knievil sings of leaving his darker habits behind, but there’s no let up in energy here.

 ‘This Ship Ain’t Going Down’ is a fitting tribute to the band’s fight against personal difficulties. They’ve had a rough time, but the mood is hard-edged optimism; a fine singalong. ‘Bad Whiskey’ keeps up the addictive choruses, with a gorgeous, melodic solo.

‘Over The Edge’ written and sung by guitarist Lewis, keeps the early Manics feel, and reminds me of the Exploding Hearts, which is a very good thing.

 

With pre-sales from Sept 23rd and official release on Oct 12th, the rave reviews keep coming, and rightly so.

Facebook

The Wildhearts’ will be playing the classic Earth vs The Wildhearts album in December

The Wildhearts’ will be playing the classic Earth vs The Wildhearts album in December

The band will also be their own support act by evolving into The Moodswingers before their main set. The crowd will be able to enjoy a back-to-back performance of the Wildhearts’ first two EP’s, which were released prior to their debut album. The Amorettes will be opening

The dates are:
Sunday 2nd December – KOKO London
Monday 3rd December – The Mill Digbeth Birmingham
Tuesday 4th December – SWG3 Glasgow

Twenty five years in and the Wildhearts are ready for more – originally formed in late 1989 in the depths of Newcastle, the group are returning to the big stage to perform their debut album, Earth vs the Wildhearts, in it’s entirety. A testament to their celebrated authenticity, 99% of the album is an amalgamation of original  demos, which were aptly recorded on second hand tape, and is characterised by the band’s distinctive fusion of hard rock, perfectly complimented by contemporary melodies.

Having released two EP’s, the Wildhearts prepared to record their 1993 studio album Earth vs the Wildhearts. The album included underground hits, ‘Greetings from Shitsville’, ‘TV Tan’, and favourite, ‘Caffeine Bomb’. An undisputed iconic debut, Classic Rock recently ranked Earth vs the Wildhearts as the 5th best debut rock album of all time, surpassing the likes of Black Sabbath and Iron Maiden.

Despite their many reformations, frontman Ginger will be joined on stage in what is now considered the classic line up of CJ, Ritchie on drums and Danny (bass) to create an extraordinary show.

Never ones to shy away from unusual formalities, the band will also be their own support act by evolving into The Moodswingers before their main set. The crowd will be able to enjoy a back-to-back performance of the Wildhearts’ first two EP’s, which were released prior to their debut album.

Working on their first full-length studio album in 10 years, the live shows are bound to be a reminder of the Wildhearts’ mastery of music and a portrayal of 25 years of prevalence within the industry.

Biters Go on indefinite hiatus

Biters Go on indefinite hiatus

Biter frontman Tuk announced through the band’s twitter account that they will be on an indefinite hiatus.  After some fantastic EP’s and two excellent albums we move onto the next chapter and hopefully, it won’t be too long before Tuk and the rest of the band are back rocking and rolling with whatever they decide to do next.  We can only agree that Rock and Roll never dies and we see Tuk, Matt, Phil and Joey real soon.

Buy Biters Here

That’s the week that was

That’s the week that was

That week went quickly.  No sooner did we bring you the finest alternative album reviews but we also ushered in some welcome reviews from the best live bands breezing through the United Kingdom.

You had Canadian rockers The Dirty Nil turning up their master volume last weekend and we also went loco over power-pop royalty Paul Collins and his new album Out Of My Head.  If those two didn’t tickle your fancy then you should try out some UK hardcore in the shape of Welsh upstarts Social Experiment and their stunning debut ‘Rumours of Our Demise Are Not Greatly Exaggerated’.

We brought you Commies who played with Tommy, Some Italians who just rock like fuck in the shape of some Peawees, German sleazy rock n rollers in the shape of Hell Nation Army. and as the week drew to a close we took on board The Virginmarys new record that is a must hear any day of the week.

We also got to have a chat with Alvin Gibbs and get the low down on his soon to be released debut solo album and the UK Subs bass player also had some amusing tales about his band and what he spends his time doing when not on stage.

All that was last week when we also announced details of some great tours and shows and new records being released.

 

To prove that we should be the bookmark site for all the best reviews, news and interviews over the coming seven days we’ve got exclusive reviews and interviews that you won’t find anywhere on the internet beginning today when we have Tyla spilling the beans about his new record and over the next seven days. Reviews from Deathtraps, Nicotene Pretty, King Brothers, and Bottle Rockets but we also go balls deep into some fantastic live show reviews from the likes of Glenn Hughes and Jesse Malin to name two so you know where to go and click when you’re skiving in work – Oh and Nev just gave you his tips on the shakers and movers in the 2018 ska/punk scene with a few just about to head out around the UK if you’re quick there might still be tickets left for The Interrupters / Bar Stool Preachers Tour.  So skive a bit more with us and keep up to date with what’s what.  As Lux used to say – Stay Sick! Luv

RPM Online

Turbocharged Rock and Roll writing.

Tyla Interview

Tyla Interview

Gerald Stansbury.

November sees the release of the awesome new album by Tyla’S Dogs D’amour ‘In Vino Veritas’ which finds the band using Pledge Music platform for the first time. For those familiar with Tyla though, he has been utilizing a similar since the mid 90’s when the brilliant solo album ‘Nocturnal Nomad’ first appeared. These Dogs D’amour include Tyla(vocals/ guitar), Gary Pennick (guitar), Matty James (bass), and Simon Hanson (drums) who have taken elements from the band’s releases over the past 35 years and added some new ingredients into the mix. It has proven to be an album that has me completely reassessing my favorite albums of 2018 as the 10 song version has been on repeat since first getting a chance to hear it. Tyla was kind enough to spend some time answering questions for us here at RPM Online.

Thank you Tyla for taking some time to speak to us here at RPM Online. I would say you have a lot happening right now but honestly, I don’t know if I could recall a time when there was not a lot happening with you.

Let’s start with the brilliant brand new album ‘In Vino Veritas’ which comes out in November via Pledge Music. What can you tell us about this album?

Well, I think that’s for the listener to decide, isn’t it? All I can say is  I had penciled out a few ideas ‘ere n there and so we went into the studio for a few days and laid down the bedrock…that’s when ideas transpose into either nowt or wondrous spirits that will last forever. We then built upon that over a period of weeks adding bits ‘ere and bits there and Bob’s yer Uncle, Fanny’s yer Aunt. Plus we only gave the Vinyl version out to reviewers so there are 2 more songs on the CD edition, not forgettin’ the limited edition double CD version with a whole CD of covers that inspired me from childhood.

You have essentially been making albums in a very similar fashion to Pledge Music since the 90’s starting with ‘Nocturnal Nomad.’ How has the process been with them making this one?

Yep, I’ve been releasing music on my own label ‘King Outlaw’ for almost 20 years now.  Pledge has given us the chance to reach more people which it has indeed done, some new and some old fans who had just lost touch, so not only are they Pledging but now they have discovered my Art Tavern and so are catching up. I wish I’d have done it ages ago, which I nearly did with Spike about a decade ago. I’m sure we shall do another one in the future. The only problem I have is keeping to deadlines and even when I manage it, some gremlins get in the works..but people are getting used to me so while on one hand people think I’ve got minions working away like Amazon others know it’s mainly just me and things take time…especially having to sign and number by Sharpie pen over  1600 CDs last week and about 400 Vinyl next week…me and my big ideas eh? I even did auditions for people to do my signature but no one passed the test…mad that eh? I even considered getting a stamp made..…I must say though I’m glad my name isn’t Baron Von Dribbling Mountbatten the Third eh?

‘Black Confetti’ was an amazing song when I first heard the stripped-down acoustic version on ‘Balancing the Ships of Honour.’ I love how the saxophone enters the song after that brief pause at the beginning. How did this new band version come together?

I actually wrote it on electric guitar and drum machine and sent it to Si, who put ‘real’ drums on it, then we lost the take somewhere in cyber world. I knew it was a good un, and sure enough, I was right.

I love that you guys have also released a four-song EP with the classic unreleased b-sides to make this feel much more like an event and a record release from the past. How did it come to be?

We recorded over 17 songs in the studio, so it was simply a matter of waste not want not. There’ll be another EP to follow after the album as well.

‘Bottle of Red’ has a sense of joy that runs through it which kind of reminds me of a happy ‘Satellite Kid.’ What was it like recording that one, as you also have an acoustic version on the EP?

When we started recording it was just me and Si, next day Matty came into the mix and then the following day Gaz landed.

At the very end of ‘Monster,’ there is a howl that brought a smile to my face as it recalls previous albums and songs like ‘Errol Flynn.’ Was that a spontaneous thing in the studio, or did someone suggest it?

Just Spontaneous .. people do suggest things to me… usually ending in …Off.

(laughing at end of the previous answer) This album really delivers the rock without any traditional ballads or acoustic numbers. ‘Movie Star’ makes a great closer with the guitar work and then the final slow down with the piano for the final words. How did you guys decide on the songs that made the album and the running order?

Well, I’d have said ‘I don’t Love anyone’ and  ‘In Vino ‘ were Ballads…maybe even Black Confetti. We all listen to and put ideas forward initially ‘Movie Star’ was going to be the opener and ‘111’ last.

This set of the Dogs has played with you as a solo act, as the Tyla J. Pallas Band, and now Tyla’s Dogs D’Amour. From an outside perspective, it looks like you guys are fully in tune with one another. What has the process been like with Matty, Gary, and Simon in really forming a band?

Simon has been playing drums for or rather with me since 1996. As I said it’s usually him and me go into the studio and knock out about 10-20 songs in a few hours. Then Gaz came along in about 2010, he played in The Dogs tour when Dave T, Timmo and Danny Fury were on board. Matty wrote to me asking if his band could support…I said ok, then me and Gaz did some solo acoustic gigs and that’s where we met Matty this time he was on acoustic. I liked him and we all got on so I’d ask him to support us, then we could never get a bass player and I said you’re always gonna be opening, do you want to play in the band with us?  Simple as that.

Several spots on the album include some amazing saxophone work as I mentioned regarding ‘Black Confetti.’ Who played it on the album? Did you already know all the spots where you wanted it, or did he add any that you had not anticipated?

Yeah, when we did a gig last year in Newcastle we were about to do ‘Drunk Like me’ and I jokingly said ..”is there anyone out there who can play saxophone?”…and this bloke jumps out from the packed crowd with a sax in his case. Once we had worked out what key it was (in as we use weird tunings) we blasted it out. I remembered and Gaz got in touch with him and he came and did the bits… He can make one sax sound like a brass section and his name is Ian Douglas.

I know there are a couple dates on the calendar before the end of the year. What are the long-term touring plans for this album?

Yeah, by the time we had finished the recording and decided on a release date all the venues we wanted to play were booked up. We are gonna do a few here and there next year including two festival headliners. We have some European dates in the pipeline like the usual Spanish tour which is always great fun… and  I’m planning a few Canadian solo acoustic shows. It would also be splendid to get back over to Japan as I’ve not been there since 1995! 

Your artwork has been indelibly connected with your music over the years thanks to all of the album and single artwork we have seen. One of the rare exceptions has been the live CD/ DVD with Tyla’s Dogs D’amour that was recently released. Why did you go with a photograph for that one?

I see lots of great Photos and thought it would be cool for a change.. if I could get a good one of us all playing together that would be a cover too…so all you budding snappers get your wide angles out for the lads!

As a fan over the years, we have seen your artistic talents spread across a variety of mediums from paintings on canvas to guitars and bottles as well as spoken word albums and books. Are there other mediums you want to try?

Yes, I’m planning on moving into a bit of sculpture. I’ve had the clay in the cupboard for a while and I know exactly what I’m gonna sculpt. I’m being tutored by me Missus Lady Jane as she is a ‘proper ‘ artist in her own right and often tells me that I ‘get away with murder’ in my style of drawing. I mean can you imagine if we all had massive hands…haha!! haha!!

At some point in the past, there were rumors that you had thought about doing some sort of country and western album. Is that still something being considered, or has it ever really been considered?

Yes it’s on my to do list, but please let me just get my speed death metal acoustic album out of the way first eh? haha!!

In this day and age of social media, you have largely abstained from it all with only brief dalliances on Facebook or My Space. I remember you once saying that you never wanted to meet Charles Bukowski because of the risks you run meeting people that you have respected or admired for fear of it going wrong. Obviously, we see examples of that happening today on Social Media where fans can stop following an artist over a different opinion. What do you see as the benefits of this digital age?

The digital age has given everyone a chance to have a bash at what they like, be it good or bad. You don’t need to rely on a record deal to make an album anymore … you just need some ‘friends…or fiends’ and yer away. Simon (Hanson) and Ginger Baker did a drum show once and out of all the 100’s of young drummers that were there only two  had ever done real live gigs. This is young drummers who all had millions of hits and followers but had never actually played outside of their bedrooms till this day. How mad is that?

What are 3 things you would tell yourself if you could travel back in time 35 years to the start of the Dogs?

One.  Don’t take that box of 25 Vinyl, the  Finnish ‘State We’re in’version down to the record and tape exchange because I didn’t like the mix or the cover and flog the lot for a fiver. Then to find out they would be worth a grand each less than five years later. haha!! 25 grand haha!!

Two.  In 1991 don’t smash up that 1957 J2OO Gibson acoustic as that is also worth 25K now.

and Three..Don’t put 50K on a horse that missed the photo finish and got involved in an oil painting!

‘See its not the principle its the Money.’ -Tommy Cooper.

You have lived in several countries and traveled all over the world. Are there countries where you would still like to live?

 Yep, and I’m ere..Edinburgh, Scotland.   

Any final words to fans here?

Thanks ever so for supporting me all these years and letting me be able to live this life of Reilly while I scratch my beard and look up to the sky pretending I’m contemplating the meaning of life and composing yet another song in Eb and oh yeah your order is in the post…honest Guv!

Facebook

Website

Pledge Music

Pictures 3,5,6 courtesy of Neil Vary Gig Photography