Mass Movement 35 - Middle Age Shred

M 35
M
Bad Religion
Dropkick Murphy’s
Neal Adams
Snuff
Six Feet Under
Valve Rider
Pat Mills
Testament
Chris Wollard &
The Ship Thieves
Bafflegab
Productions
Hierophant
Gama Bomb
The Mervyn Stone
Mysteries
AYS
Lordi
Dead City Records
Snake Charmer
Screen Damage
Injured Eyeballs
And much, much
more…
It’s been a while huh? Well, I hope you think the wait was worth it… We do. Anyway, welcome
to Mass Movement 35, a cornucopia of interviews with interesting and intriguing cats, strange
and appealing features and columns and reviews of some of the must-have delights that have
crossed our paths in the last four months. So, without further ado, enjoy, and we’ll see you
in July…
Tim Mass Movement, April 2013
Editor: Tim Mass Movement
Deputy Editor /Online Editor: Martijn Welzen
Reviews & Features Editor: Tom Chapman
Sub-Editor: Ian Pickens
Resident Artist & Cartoonist Dude: Jethro “Jethrobot” Wall
Site Design & Webmaster: Tim ‘Bunky’ Davies
Magazine Layout & Design: Tom Wilding
Staff Writers: Tim ‘The Impaler’ Schwader, Steve Scanner, George Tabb, Doug Crill, Liam Ronan, Brady Webb,
Marv Gadgie, Mark Freebase.
Contributors: James McLaren, Fiona Brennan, Sophia Fox, Chest Rockwell, Ian Glasper, Gavin Gates, Lauren ‘MM’
Barley, Tom Chapman, Carrie Bluer, Devon Morf, Paul Hoddy, Will Pywell.
Subscriptions: If you want to subscribe to MM, just email us at info(at)massmovement.co.uk with the word ‘Subscribe’ in
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All content and layout copyright Mass Movement & Tom Wilding (April 2013) and may not be used, copied or reproduced without prior permission
Deadline are surely one of the hardest working and
best punk bands from the UK to have emerged over
the past ten years. Formed as a side project by Gundog
and Knuckledust members, they soon cast off the
shadows of those bands and emerged as a powerful
force to be reckoned with. Whilst enjoying a great
reception here at the likes of Rebellion festival and
some of their classic shows in London, they enjoy a
lot of popularity on the mainland and it is a joy to
watch them get some well-deserved attention. With
five full length album and a ton of compilations and
splits under their belts it was high time to produce a
compilation album and get some of those hits from
the past decade and beyond brought together on one
disc. I caught up with vocalist Liz and bassist Herve
who form the core of the band, and asked them about
Deadline in 2013.
Who came up with the idea for the “best of album”?
Herve: PLY had asked us a few years back but it didn’t
feel right at the time. Now it does. We’ve not got much
new material but we wanted something to take on the
road to keep people happy and for people who are just
discovering us.
How did the process for selecting the tracks work, was
it a democratic thing decided within the band, or did
the fans have their input? Or did you just sit back with
a nice bottle of wine or two or three and listen to your
back catalogue to piece it together?
Liz: We all have our favorites but it was me and H who
selected the songs. They are mostly what we’ve been
playing live over the years.
Are there any of your personal favourites which didn’t
make the final cut?
An interview
with...
Deadline
Interview by
Mark ‘Freebase’ Fieldhouse
the drums and bass should play the same rhythm
which has made a real difference to the tightness of the
songs on the later albums. As for the sound, I always
wanted to sing melodies but when your band is made
up of Knuckledust and Gundog... Still, recording
More To It was a great experience, it taught me a lot of
things, the main point being I need more than just 1
day in the studio to record my voice!
Herve you released this on your own label which
had been dead and buried what was the reason
behind this?
Liz: Pearly Gates didn’t make the final cut, nor did all
my favorites off the last album, but I did manage to get
Excuses on there. Herve would have put all the songs
from Back For More but we had to limit ourselves to
26 songs.
It’s weird, each time you have released a new album,
I think you’ve introduced a new sound – getting
gradually more melodic; but listening to the best
of, everything flows really well from one track to the
next and it makes for an organic progress; have you
ever tried to change direction or has that just been
how the songwriting has flowed. Would you agree
that your sound has developed over the years?
Liz: We have changed as we’ve “grown up” which I
think is reflected on the song writing, also we’ve learnt
a lot of things recording wise too so as time has gone
on we’ve introduced these things. One of the major
things that was pointed out to us a while back was that
Herve: People Like You had been on at us for a while,
but when we finally decided to get our arses in gear
and do it they changed their minds, but they very
kindly let us license the songs in exchange for a few
copies, so this was a good opportunity to resurrect
New Blood for a one-off.
Back in the day you released some great records like
the Filaments’ debut album, are any of these bits
of punk history still available? Any releases you are
particularly proud of ?
Herve: The Filaments debut cd has been out of print
for years and we decided not to reprint it so that it
wouldn’t take people away from the “new” album
which was about to be released. It’s been a few years in
the making but it’s now been released at last. It’s called
“Land Of Lions” and can be found at
www.thefilaments.com. I have a soft spot for
Deadline’s More To It as I was not expecting it to do so
well.
You’ve had a number of significant line-up changes
over the years but managed to maintain a consistent
sound, how do you think this worked out? Did the
new members join to “fill someone else’s shoes” or
to bring in their own element?
Liz: Each new member has brought a new sound with
them, it wouldn’t be fair to get them fill someone else’s
shoes. All the musicians we’ve had over the years have
been very accomplished and have been able to emulate
and improve what’s gone before.
You are touring on the mainland to support the new
record, any plans for a UK tour?
Herve: Nothing planned yet but we would like to.
Unfortunately, there’s not as much of a “scene” and an
infrastructure here I’m afraid. Well, at least not for us...
You incorporate a variety of styles in your sound,
from punk to oi! to rock’n’roll to hardcore, are
there any audiences out there you think are missing
out by not coming to your shows? (if you know
what I mean? I think you guys could do really well
playing the hardcore/ punk shows, maybe touring
with someone like NOFX or Bad Religion)
Liz: That would be really cool but I don’t think we
could afford to. We all work and the great thing about
touring in Europe on our own headline tour is we get
paid enough to cover all our costs so we don’t have
to pay for it from our day jobs. If you tour with a big
band like that, you don’t get paid, or you get a token
50 quid, besides, they’ve never asked lol
Why do you think you guys do so well in Europe? Is
it a different crowd/ scene over there?
Liz: We did our first tour in Germany and it was so
great , so many people at the shows for a band they
didn’t know, it was amazing. To be honest it’s a bit
disappointing doing tours at home, don’t get me
wrong I love our British fans but they are few and far
between.
Herve: classic French... hmm, one of the best band
we had was La Souris Deglinguee... but they’re an
acquired taste. Komintern Sect & Camera Silens are all
time favourites. I don’t know what’s come out in recent
years though as I tend to get a break from music when
I go back there.
Herve: The scene in Europe is completely different,
there are so many independent “underground” clubs,
fanzines, magazines... which cater for all tastes of
Punk. It is massive. Some “fanzines” like Plastic Bomb,
Ox etc... have a monthly run of 10,000+ copies and are
sold in newspapers stands in train stations etc... They
cover everything they like, it’s not just dictated by PR
or their advertisers’ budget... therefore giving a chance
to “new” bands to get a well deserved exposure. That’s
at least how it all started for us. And let’s face it, Punk/
Oi!/HC call it what you will is much more popular
there anyway.
Deadline has done so much over the past 12 years or
so, what are your personal highlights?
Where are your favourite places to play? And in
your career so far, have you had any highlights and
defining moments?
Liz: The East side of Germany is the best, Czech
Republic, Slovakia. Probably the best gig for me was
Force Attack in Rostock in 2008, they made a really
cool video which is on Youtube. http://www.youtube.
com/watch?v=sF6qZpeLvjk
Herve: Moscow was one of the highlights and the 10
Year Anniversary show in London was a cool one too!
Herve, as a French punker, which are the classic
French punk bands people should check out? And
who are the good bands over there today?
Liz: Being able to play great shows with great bands at
home and abroad, see some fantastic places (Moscow,
LA, Berlin, Paris, Bratislava, New York etc.) and meet
lovely people everywhere we go is what it’s all about.
And as you have achieved so much – what is left for
you to do? Are any goals still out there?
Liz: Keep doing what we do. As long as people come
to our shows and we still enjoy playing we’ll carry on.
I’d like to write another album but I need to get Jon
round with his guitar... M
M
An interview
with...
Snuff
Interview by
Tom Chapman
I must admit I was more than a little excited to hear that Snuff were about to drop a new album. I’ve been
listening to the band for a long long time, right from their classic debut EP “Not Listening”, cranking up the
wireless when the Peel Sessions were aired through to their later albums on labels like Fat Wreck and their very
own Ten Past Twelve records. For me Snuff has always been a band than has transcended the petty subdivisions
in punk rock and hardcore and as a result pretty much everyone loves ‘em! Punks, crusties, straight edgers,
skinheads, Snuff seems to always find a place in people’s hearts. The new album is a real return to form and picks
up seemlessly from where they left off, and so of course I jumped at the chance of putting some questions to
singer and drummer extraordinaire Duncan.
Although you’ve played gigs here and there this
is your first studio album for a long time, what
prompted the decision to become a recording band
again?
Borderline syndrome. Personally I never stopped
recording with solo projects and with other bands
but as snuff we started gigging again in 2008 then
recording again early 2011. Japanese pop star
Tamurapan recorded a track with us at the kinks
studio in London, that was a lovely moment. Then we
started sofa bashes on a few new songs and decided to
record a tour ep with 4 new tracks and 4 covers. Then
went back to the studio in 2012 thinking to record an
ep of the originals and it turned into an album. Really
we did it for us and didn’t think that in the present
climate labels would be interested. There is little or no
money in sales these days so it was a surprise that both
Fat and CR Japan picked it up.
Are you back as a full time band? Or taking things
as they come?
We can’t be a full time band because of everyone’s
different schedules . So we’re kind of an ongoing part
time band. We can only do about 20-25 gigs a year
so it keeps it as a fun thing with no strings attached.
These days we probably wouldn’t be able to do it full
time even if everyone could. What made it possible in
the past was royalties and tour support, but for better
or worse the industry is dead and they are out of the
equation, so we just do the fun ones we can, where
we can. But it isn’t all bad and it is an exciting time as
long as you don’t expect to make money, luckily for
us that’s where we started anyway so we’ll still plod on
regardless.
Snuff for me has always had a unique place in the
punk hc scene - you’ve been liked by everyone across
the board - from the straight edgers, to pop punks,
hardcore kids, punks. I guess it is because your
music can’t be as easily pigeonholed as some other
bands. Has your audience changed, or is it still the
same mix of people?
Our audience has definitely changed, now they are
mainly old, bald, round, and standing at the back with
their kids dancing and singing along in the “crèche pit”
down the front. We always tried to mix up different
influences, I think the more varied the influences the
tastier the cake.
You’ve always been incredibly prolific, does the
songwriting process come easily? Do you have songs
floating round your head all the time or do they take
a while to germinate?
All depends. Sometimes a song just falls out, others
it hangs about until a spark sets it off on a different
direction, other times you can hammer out a song
and in the end it’s crap. There’s always a pool of ideas
floating about, some work but most come to nothing.
With snuff it’s great to bounce ideas about and mix it
all up.
planets. Peer pressure is a strong force and if all around
are honest and respectful then that starts to rub off,
and the opposite is also true like Britain.
Snuff seem to have a love affair with Japan, how did
that come about?
What is touring in Japan like, is that any different to
touring in Europe?
I fell in love with the country as soon as I got there
in 91. The level of trust, the passion, the food, the
treatment, the attitude. It was one of the bigger
culture shocks I have ever had. Going from NW
London to Tokyo was two completely different
Touring Europe overall is great and the venues are
really well organised, but touring Japan is a step up.
The fans are passionate and treatment is absolutely
incredible, the pa’s are normally top spec and they will
go out of their way to be helpful and positive, this is
a lovely culture shock compared to Britain. I wonder
how many British people realise that many foreign
bands avoid Britain because of the poor treatment?
That said there are some great venues in the UK , we
grew up with it so whether we like the treatment or
not we’re used to it.
You’ve worked with many labels over the years,
and are still working with US and Japanese labels at
the moment. Did you not fancy releasing the new
album yourselves on 10 by 12?
Can’t afford to lose money. We may do a run of vinyl.
That’s a small market but it’s still there and growing,
the cd has been a dead format for a few years now and
mp3s don’t sound that good plus everyone expects
them for free anyway. I draw some schadenfreude from
watching the start of the death of the mp3 as a format
as people don’t even bother clogging their machines up
and go straight to YouTube and Spotify. At least with
Spotify you get paid 0.000007 Pence so at the present
rate we’ll have enough for a cup of coffee in 2094,
something to look forward to!
Are you concerned about the changes facing the
music industry?
The music industry died a few years ago, and I mean
the punk music industry which is a contradiction in
itself ? The music business, however, is doing fine but
we we’re never really a part of that. Downloading
killed the cd and labels and bands made their money
on that. Most labels are gone or in trouble. Labels
that only ever did vinyl survived but I would say at
least two thirds of the people I know that worked in
the punk music industry 10 years ago are now out
of work or doing something else as there is no more
work . This is good and bad. I think we were lucky
to have been about at a time when the bands get paid
so they can afford to carry on full time, I wouldn’t
want to be a band trying to get that going these days,
it was hard enough when you did get paid royalties.
For a few years it really irked me how many different
justifications people would use for stealing your
music and in the end it kind of gave me a different
insight into how us humans will justify our actions to
ourselves and change our morals at the drop of a hat to
suit the situation., Whinge rant etc. But if I get on
my soap box I’m a hypocrite as I used to tape stuff as a
kid, trouble is now its global not local. Luckily Snuff
never trusted anyone so although we may cry like
pampered babies about lost livelihood it is no surprise
to find out that most humans are inertly selfish self
justifying hypocrites, rant moan etc. But that said there
is also literally a world of opportunity opened up and
somehow the industry side of things will adapt and
swing back in the bands favour. People are starting to
realise that if they want their bands to gig and record
they will have to make it happen, I think all that
pledging stuff isn’t the way to go for us, who wants to
buy something before they’ve heard it? It should be
the other way round, like it then buy it, it seems like
begging to me?
And it’s not just the music industry, but society
is moving on - are you “digital people”? Do the
closures of household high street names affect you
in any way? I remember buying Snuff records on
the high street, and record shops were a meeting
place for like-minded types, in fact I have become
good friends with people you used to only meet in a
record shop.
We haven’t completely kept up completely with
digital stuff, it’s off putting that 95 % of downloads
are illegal or if its legal the slice the band actually gets
is tiny. If it’s on itunes they take most of the money
and don’t put it back into the bands like a label would.
It’s a different planet these days, as a youth going to
a record shop was the event of the week, or month.
These days it happens in seconds. Labels and record
shops would channel you towards the music that made
sense to you, and it was a precious item, now there is a
sea of bands to wade through at the touch of a button.
In the end word of mouth is still the best promotion .
Mass Movement has also made the transition from
being a print fanzine to an online magazine. Do you
follow much of the music press these days? How do
you prefer to read up on things?
Sorry but personally I stopped reading the music
press decades ago. I’m wrapped up in my own world
of music, the last think I want to do is read about
someone else’s. I don’t mean to be rude it’s just me.
Apart from the high streets, have you seen much
change in the venues you’ve played in over the years?
do you have any favourite venues? Any you are sad
to see no longer there? I used to love the punk and
hardcore gigs at the Duchess Of York in Leeds for
example.
I’ve had a rant about treatment in UK venues already
but I can say the promoters we have worked with in
the past have generally been fine and for atmosphere
and sound there are some great venues. The best
venues seem to be run by ex musicians, which is no
surprise. Had some great gigs at the Duchess, I miss
TJ’s in Newport. There’s a few venues I’d like to blow
up as they have a meat head attitude from the top to
the bottom but I am scared to start a slanging match
as I’ll probably end up playing them again sometime.
I’m lucky enough to have travelled the world and seen
the different national traits and can say it’s a shame
loads of British people have such a pointlessly negative
attitude.
The Snuff style seems so varied, with mod, oi!,
hardcore, metal, punk, African beats and more all
getting a look in. Do you listen to a lot of music?
Do you listen to the new bands coming through?
Because I am normally in a loud world of music I
rarely listen to loud music through choice and if I do
it will be short bursts of different styles, listening to
the same thing over and over is so boring. I make a
racket all day, so a racket isn’t always such a relaxing
alternative for me? I don’t always keep up with new
bands, takes a lot to get a jaded old hack like me going
these days.
Who were your contemporaries when you were
getting started? Are you still in touch with the likes
of Leatherface and co.?
The Senseless Things, Sink, Mega City 4, The Abs,
HDQ, Leatherface and tons of others. I’m still in
touch with tons of the people from those days, we’re
the jaded lost it old men that sit around going on
about how crap it is these days, hehe.
The new album doesn’t feature any of your
trademark covers, is that firmly in your past? Also
with the covers such as the selection on “Flibbidy....”
(Tom - 12” record which featured a couple of
originals, covers of the likes of The Who, The
Specials, GBH and a load of TV theme tunes and
adverts) you often choose songs which are obviously
geared towards a UK audience, has that limited
your choice of songs to give the Snuff treatment to?
There will be more covers, they just have to be right
that’s all. We have covered songs from around the
world on various ep’s and tour ep’s but of course we
understand the British psyche better coming from
here.
As well as cover songs you have always brought a bit
of humour to the punk hardcore scene which can
often be pretty straight laced, was this a conscious
decision to be a bit different?
We always wanted to try and make a party atmosphere
if possible, people want release and fun away from
their often boring or stressful lives not getting
preached at and told what to do. However there is an
argument for using anger as a force, but to be honest
most musicians (us included) are so egocentric, snobby
and up their own arses that they take themselves far
too seriously and need a good metaphorical slap.
bands, in particular the Toy Dolls are busy at the
moment. What other ongoing projects do you have?
Acoustic, Duncan’s Divas(a covers project
covering womans songs), Billy No Mates( originals
collaborating with musicians around the world,
Duncan’s Geezers( covers of male songs), Bonzer noisy
techno/guitar racket, and I play drums in Wonk Unit
when I can.
I think that’s about it, thanks for taking the time to
answer the questions!
Bing bong all the best. M
M
And speaking of being different, pretty early on
your line-up went beyond the standard guitar-bassdrums set-up, what inspired this?
Ska soul and mod music. Deep Purple had an effect on
me as a youth with the drum style and the Hammond,
the Small Faces, The Prisoners, the Skatalites and
GBH had a massive effect on me. (Tom - all great
bands you should definitely go and check out)
How do you plan on following up the new album?
I see that you have some touring in Japan on the
cards, have you got much planned beyond that?
There’s no Japan tour on the cards as far as I know but
I would go there at the drop of a hat. We have a few
festivals planned in Europe and at some point will do
more UK gigs. We will take it as it comes.
As well as Snuff I know Duncan is active in other
Want more
Snuff?
facebook.com/
snuffukband
It Ruined My Life
WOUNDS
Aaron (Bass)
What ruined my life is more of a temporary life ruining experience. But I learned a valuable lesson from it and I’m sure everyone has been through the
same. At some stage in their lives everyone works a job they really fucking hate, in order to do the things you love. This is a given when you’re growing up, working part time and needing cash to get drunk or buy some nice new shit, or in my case, be in a band.
I worked in retail from the age of 16 to 21, it was fine for the most part, it paid really badly but once I was able to have a good time on the weekends
I didn’t mind too much. In total I worked in three different shops. The first two were fine, but from 2011 - 2012 I worked in a kids clothes shop, creepy
as it was I needed the job as I quit my last one to go on the Crime In Stereo tour with WOUNDS. Every second I spent in that shop I died a little bit
inside. I never truly hated anyone I guess, until I started there. Dealing with pregnant women is some sort of skill that only a few people can do. They
are just pure evil.
What always frustrated me was they didn’t realize how little I fucking cared. My mind was totally elsewhere 99% of the time. The constant stupid fucking questions also drove me insane. Occasionally I would be asked if a certain size would fit a parent’s kid… when the kid wasn’t even in the shop.
When asked to check a size in the stockroom, I used to walk in and check my Facebook and not even bother looking.
I guess what I learned from the whole experience was that if you really really hate what you’re doing, give it up because your happiness comes first.
Everybody has to make sacrifices to do things that do actually make you happy. But fuck, I guess what I’m really saying is don’t ever work in a
kids clothes shop, not only does it make you look like a creep, it’s extremely unpleasant.
Craig (Drums)
Life Changing Album: ‘Mellon Collie and the Infinite Sadness’
Growing up I was always surrounded by music. My brothers and sisters were constantly playing their favorite records and CD’s. I remember hearing
bands like Nirvana, The Pixies and Radiohead throughout the 90’s. One band that stood out for me though was The Smashing Pumpkins. My older
brothers taught me how to play guitar and I was happy out doing that until I heard the album ‘Mellon Collie and the Infinite Sadness’ by The Smashing
Pumpkins. I don’t know what it was about this album but something just clicked and I loved it. It was the first time I heard an album that had so many
different styles on it. It sounded like a different band in certain songs. It was inspirational and it made me want to learn how to play drums. Jimmy
Chamberlin is still to this day my favorite drummer and the reason why I wanted to play drums in the first place! For me this album did change my
life because I knew I wanted to play music and start a band. Before this I did love music but there was something about this record that changed my
whole perspective on music and opened me up to a lot of different genres and styles. I remember when I was younger there weren’t too many kids in
school who even knew who The Smashing Pumpkins were never mind ever hearing their music. So it was cool when you did meet some people the
same age as you who actually listened to the same music as you! I guess it wasn’t the most popular music at the time and the majority of kids would
never have heard it.
It was a short while later I got my first drum kit. My older sister bought it for me. It was a second hand Premier kit and it was great. I played it in my
garden shed almost every day after school but the neighbours fucking hated me and they were always telling me to shut the fuck up! Pricks! I remember saying fuck homework and just heading out to play some drums when I got home school. Trying my hardest to learn my favorite beats. That was
difficult at 11 years old. Ha! My brothers had bands and stuff and I really wanted to start a band too but there wasn’t people I knew who played so I
started jamming with my friend Paco. It was just guitar and drums but it was fun as fuck! I went on to play in a few bands over the years before joining
Wounds. Oh and I got a little tribute tattoo to ‘Mellon Collie and the Infinte Sadness’ for changing my life too! I got lyrics from the song ‘Thirty-Three’
tattooed on my ribs. It was my first tattoo and it hurt like a bitch. I was so hung over it was awful!
Aidan (Vocals)
What changed my life was my decision to open a bottle of red wine when I was pissed with a scissors, the scissors slipped, chopped off my baby
finger, so that gave me 3 months off work, which led to me going out every night on the piss for 3 months, during which James fell off the balcony,
which then in turn inspired our album Die Young, which then in turn has led me to become an full time alcoholic band member of Wounds. So... A
scissors ruined my life.
James (Guitarist)
A night that nearly ruined and definitely changed my life was when I saw The Used play live in Dublin. I was absolutely fucked drunk and decided it
would be a good idea to crowd surf during literally every song on their setlist. Then I somehow managed to get onto the stage during the start of The
Taste of Ink and got to sing the opening line with my arm around Bert which is definitely a priority ticked off my bucket list!
Anyway, he got tired of people diving from the stage so said the next person to try & do it was getting kicked in the head. So I didn’t realise he was
being as serious as he was and went for it next; I got a boot the face while on top of the crowd, fell to the ground then had two lads land on top of my
head after them attempting to crowd surf themselves. As you could imagine, I woke up with a nasty headache the next day, from both the booze and
the kick to the head from Bert. After that, I really didn’t fancy chancing my arm and nearly dying again so I decided to quit drinking and to quit bullying
bands while they’re onstage. Both result in near death experiences so I think I’ll pass...
Wounds: http://www.woundsband.com/
In At The Deep End Records: http://www.iatde.com/
“Ikil Oriion means the brightest star in the galaxy.”
That successfully sums up the outlook of Rebel Glitz
recording artist Ikil Oriion. This New Orleans native
blends jazz, punk, blues, funk...hell he’s got a little
bit of everything in there it sounds like. He uses a
diverse range of styles to create what he calls “raw noir
nouveau punk.” His official biography is well-written
and descriptive but it’s doubtful any collection of
nouns, verbs and adjectives can adequately capture
the essence of his personality or fully describe the
music he has created. The songs on Paranoise Void are
extremely catchy but also seemingly unaware of the
musical mainstream and that’s a good thing.
Thanks to a positive review given by one half of this
interview team (see our review section to read it) we
were offered the chance to speak with this dynamic
artist. His varied background and diverse creativity
opened up the way to a ton of questions but we limited
ourselves to those that would be the most interesting
and the least like overwhelmed fans who have finally
met their favorite musician after years of devotion.
JD: Thanks for the interview! How are things in the
Crescent City these days?
Actually I haven’t been back to my hometown in quite
some time now and, to be quite honest, it’s long over due.
Over the last several years I have split my time between
living in L.ost A.ngels, Japan, Brazil and prior to that I
lived in Gotham City for an extended time. From my
understanding New Orleans, or as we southern boys call
it, Nawlins, the Crooked Crescent seems to be getting its
mojo back post-Katrina.
AD: Outsiders seem to have very well-defined preconceived notions about New Orleans. One thing
An interview
with...
Interview by
Jim & Amy Dodge
Interview by
Jim & Amy Dodge
Interview by
Jim & Amy Dodge
Ikil
Oriion
people on the outside often envision is a city
overrun with musicians. Is that an accurate
perception? Do you feel being from an area with
a LOT of other musicians has helped or hindered
your own progress?
New Orleans has always been known for its music,
food and culture! The city has been known to produce
and pump out some of the finest musicians and artists
worldwide at the blink of an eye. With that being said
one of the reasons for this is people in New Orleans
take music very seriously and value the importance
of music being an integral part of New Orleans
heritage and culture-- such as jazz, blues and funk as
examples. Having this type of musical exposure and
seeing how music is incorporated on the streets as well
into funerals... New Orleans has built a reputation
as being a city with roots that connect to Africa,
Native American, and also Europe, so not only we
celebrate music for the living but the dead are forever
immortalized by way of jazz funerals and second line
brass band marches. This type of social dynamic has
shaped me into the type of recording artist I am today
by allowing me to embrace the past while pushing
musical boundaries to the side.
AD) Do people assume they know what your music
will sound like before they hear it based upon your
ethnic background and the fact that you are from
New Orleans?
To some degree I would agree with that because New
Orleans has a vast reputation for being known for jazz,
blues and funk people sometimes want to box you into
their music industry genres but I have always danced to
the beat of a different drummer doing what feels right
and natural. Also due to the fact that I am African
American, Native American and French, it influences
people sometimes automatically assume I am doing hip
hop, R&B or whatever the so-called “black music rage
of the moment” there is. Anyone with a brain inside
their head should know that Rock & Roll music was
the birth of blues (father of Rock & Roll),so we all
have to pay a tremendous amount of respect to a lot of
the African American blues pioneers (Muddy Waters,
Robert Johnson and many others) paved the way for
artists like me. In America, music has always been
segregated to a certain degree even up to recent times
with the explosion of hip hop. One of my motivations
is to break those types of stereotypes and mind sets by
creating a fresh new perspective for rock music---- one
that transcends color, race, nationality or gender.
JD: Though you’re from one of the most wellknown cities in the US you’re on a label based in the
UK. How did that happen? Why did the American
labels pass up the opportunity to represent you?
Once you travel outside of America you get a feel for
a deeper appreciation when it comes to the arts in
general. Most people in the music business are in it for
the wrong reasons. You got lawyers trying to be A&R
guys, you have corporate investors running the labels,
you have a huge divide still between physical and
digital and most of all you have a mainstream culture
that doesn’t support musicians. Most people believe
music should be given away for free. We as artists
have been devalued and underappreciated in the US
so artists like myself have been exploring alternative
ways to sustain our careers without having to rely on
country territory such as America. History always
repeats itself. Even Jimi Hendrix had to travel overseas
to the UK and Europe just to make a name for
himself ! Times may have changed but is the change
“For Better R Worse” (lol lol no pun intended)... The
last few years have been a great example of how
America is no longer the main focused territory look
at Adele and Muse. Both are British acts who won
album of the year at the Grammy’s. There’s a party
going on within the International community and the
US is fashionably late as usual.
JD: You have lofty goals and, in my opinion, the
talent and the drive to reach those goals but at the
present time you’re still a relatively unknown artist.
How is it that you managed to enlist the help of
such an esteemed list of guest musicians?
AD: Along that line, what are some of the barriers
you have overcome in order to get your music to the
general public?
It all starts and stops with the music. If I sucked
nobody would give a damn. They would run for the
hills. When you put out great music you attract like
minded people so I have been fortunate to connect
with top notch renowned artists/musicians, platinum
producers, Grammy winning engineers, etc., all for the
simple fact that they love my music and feel confident
that they could contribute something invaluable
towards my creative process. Thank God there are still
really talented individuals who still care about and love
music, not just for the money, but for art’s sake.
The difference between me and most artists is that
I come from a DIY (Do It Yourself ) approach so
rather than waiting on someone to do something
on my behalf I have always maintained a do-for-self
attitude and spirit which makes all the difference in
the world. In addition to be a recording artist I have
had to empower myself with the necessary tools to stay
afloat in the oversaturated mainstream music market
of today. Nowadays it’s a must to think outside the
box and maintain as much independence as possible
to ensure creative control, longevity and relevance
so, even though there are many people working in
conjunction with me behind the scenes I am still the
star quarterback making it happen day in and day out.
It boils down to perseverance, work ethnic, true talent,
faith/belief, confidence, and most importantly failure
is not an option attitude.
AD: Since your name means “brightest star”, am I
to assume that your goal is to be hugely famous? Or
would you like to keep a day job?
Being an artist goes beyond day job, night job or even
a career... you either have it or you don’t. Something I
was born to do!
AD: Your album has a coherence of sound but
also contains a variety of styles. Did you set out to
achieve a certain style/sound in each song or did it
just happen organically?
It’s the New Orleans Gumbo in me. I was conscious
of wanting to concoct a sound that has its own unique
flavor but contained different spices (nuances, sounds,
techniques) that have yet to be explored. My typical
mantra is to let the music ideas flow organically and
never to second guess my intuition (learned from
greats like Miles Davis, John Coltrane). Music to me
is spiritual so it’s essential to be in the moment that’s
where the true magic happens. Over a course of a year
or so while writing the album in NYC, Brazil & Japan
and preparing to record it in LA the process took upon
a life of its own. It’s important to stay the course of the
process and not run away when it takes you in a
direction that may seem unfamiliar or feel
overwhelming.
JD: The album is out, it’s amazing and it’s time
to travel the world to support your music. When
does the big tour start? When and where can your
growing fan base expect to see you appear?
My spring tour begins in the UK starting in London
and Birmingham in April-June segueing into Europe
and coming back to America for summer time shows.
JD: You have videos on YouTube and your music is
in so many places on the internet it should be hard
for the listening public to avoid. Are there any other
things you’d like to promote? I’m sure, based on
what I’ve seen so far, that there’s more to Ikil Oriion
than just a bit of music and some live shows. What
else is happening in your world?
I’m currently putting the final touches on my follow
up album “Eon X19” due out later this year. I am
working with The Strokes producer Gordon Raphael,
Steve Lyon engineer -producer of (The Cure +
Depeche Mode) and Chris Brown platinum engineer
producer (Radiohead + Muse). In addition I have
just launched my music production company called
Ingenius Basterds with the intention of writing and
producing other acts. Rebel Glitz, which is the name
of my clothing line, is in the process of getting branded
and seeking fashion co-ventureship opportunities so
as you can see there’s more in store in terms of IKIL
ORIION music projects, fashion, and art. M
M
Now is that moment when we say “Thank you!” to
Ikil Oriion for stopping by to chat with us. This
man is so busy it’s not clear when he stops to sleep. As proof of that here are a few of the places you can look
up his art, music and the other facets of his creative output he chooses to share with the rest of us. Wow.
IKIL ORIION`s Fashion Line Rebel Glitz - http://ikiloriion.totomerch.com/
“For Better ‘R’ Worse” - Youtube Video - http://www.youtube.com/watch?v=qZKjxl24V0E
Download Now - iTunes Buy Links
(US) https://itunes.apple.com/us/album/paranoise-void-deluxe-edition/id582658449
(UK) https://itunes.apple.com/gb/album/paranoise-void-uk-bonus-version/id566113746
(Europe) https://itunes.apple.com/us/album/paranoise-void-bonus-version/id573457874?ls=1
facebook.com/ikiloriionofficial
twitter.com/ikiloriion
youtube.com/oriionstartv
An interview
with...
Cyanide Pills
Man, I love the Cyanide Pills. They manage to put a splash of neon across the
otherwise grim cobbled streets of Leeds in the cold wet north of England
with their buzzing two minute power-pop punk explosions. I love the fact
that they are proud of their outpourings and press up one 7” of hot coloured
plastic after another to keep the vinyl fiends happy. It’s kind of easy to
describe their sound and read into their influences from the punk world of
say 77-79, but that does their style a disservice as when you have a proper
listen, there is so much more going in beneath the surface. A tour of the new
album uncovers a big range of sounds pulled into a coherent album that
hits the nail on the head creating the perfect punk rock album for today. I
recently caught up with singer Phil Privilege and fired a couple of questions
his way, cheers Phil!
It’s taken you a while to come up with the second
album, what have you guys been up to in between
records?
Nearly two years! To be honest we only wanted to do
one album and when it was finished we thought that
was that. Then Damaged Goods asked for another
which was a surprise. So we did another.
The lyrics on the new album are pretty interesting,
are there any you are especially proud of ? Can you
tell us a little about the track “Don’t Turn Right”
and what that is inspired by?
Right-wing parties alway gain ground, get more
support in times of hardship, spreading hate, fear,
paranoia and blame. I wish people would wake up and
realise who the enemy is. They love it when we are
divided, when we fight amongst ourselves, keeping us
distracted while they continue to destroy the planet,
keep the starving hungry and the wealthy in charge.
I’m not political, I hate politics, all politicians are
useless.
The UK punk scene seems quite fractured these
days, how is it for you guys? Do you have places you
do particularly well? Other places that you struggle?
There are punk rockers in every town, we do alright
anywhere we go. We don’t mind if we play to 2 or 200
people.
And who are your peers, here and abroad?
Peers? We loved The Briefs, they spurred us on really.
Americans writing great english sounding punk rock,
we had to try and address the balance. Don’t think we
have managed it yet but we will keep trying. All the
great Punk rock and power-pop bands from 77 78 79
you name em we have ripped em off !
the band?
It makes rehearsing a little tricky. But as they say in
Norway: Faen øve, vil det være i orden på natten! M
M
You fellas do well in Germany, how has that come
about?
A guy named Paul North came to see us supporting
The cute lepers in London, he said “you have to go play
in Germany its fucking great”, we said “ok” so he took
us over in his van. He was right Germany is great. They
got the ‘suss’
Vinyl releases seem to be far more important to you
guys than CDs, are you fellas record collectors?
What’s the appeal of having your stuff pressed onto
record?
Vinyl is what Damaged Goods is all about. (although
our stuff is available on compact disk and download).
Since I was a kid I wanted to put out a record on
coloured vinyl. Thanks to Ian Damaged that ambition
has been fulfilled many times over! Everyone knows
vinyl sounds better don’t they?
You have a couple of tours coming up, are you
playing with anyone special? Any dates in particular
that you are looking forward to?
Yes we have a few dates here in the UK, then we are
supporting The Adicts in Germany + a few of our own
shows as well. Looking forward to it all. Come and see
us.
Your guitarist lives in Norway, how does that affect
Want more
Cyanide Pills?
http://on.fb.
me/14f5oEv
Finnish shock rockers (and Eurovision
Song Contest winners) Lordi have just
released their new album ‘To Beast Or
Not To Beast’. Boasting two new members
in the likes of Mana (drums) and Hella
(keyboards) the monsters of rock are hoping to slay more victims. On meeting with
Mr Lordi in a prestigious London hotel I
am firmly greeted by Mana “BEND OVER
AND PRAISE THE LORDI!”
MM: Now then Mr Lordi is ‘The Riff ’
designed to infiltrate everyone’s minds and
gain total control?
MR: It’s powerful, and yes we will be playing
it on the next tour. It is very much in the
traditional Lordi vein and carrying forth
our over-consuming elegance although we
have some refreshing and experimental parts
throughout, and you know the title is killer.
Nobody has a song called the riff… nobody.
The lyrics carry the topic of the riff and it’s a
rockumentary about music. How can nobody
have a song titled the riff yet, and you know I
googled to check! We have set the bar very high
with this title as any music lover is bound to say
“Huh, so the riff better be fucking good”.
An interview
with...
Lordi
MM: With the riff being the first single
release, what can you tell me about some of
the other titles ‘We’re Not Bad…’ ‘I Luv Ugly’
‘Horrification’ ‘Happy New Fear’ ‘Candy For
The Cannibal’ there’s some issues here right?
Interview by
Mark Freebase
MR: POWER! Ha ha… yeah. Well I actually
write two types of lyrics, horror stories and…
maybe there’s a message behind these, like a second
kind of level and then there are the other kind of fuck
you lyrics, I just wanna live my life Dee Snider type
lyric, very rock n roll, raise your fist and yell vibe. You
know what I mean? So I guess this album is pretty
full of both of those. Some of it is self-gratification;
I mean Gene Simmons couldn’t be a better Lordi
than me right? It’s about having some self-esteem and
balls for life. There are some horror lyrics obviously
in the likes of ‘Horrification’ and ‘Happy New Fear’
some elements of that topic for sure, but Lordi has
something to say. The whole concept is of darkness
based around our image… People should have their
own take on what it’s about; after all it is rock n roll.
The main theme on ‘To Beast Or Not To Beast’ is be
true to yourself and don’t take shit from anyone!
our idols, but I suppose they generate a fan base
of younger rockers. You know in Finland they are
showing Family Guy on a Sunday morning, to the
kids, as it’s animation so it’s acceptable you know! It’s
actually quite crazy as they are having gay sex there…
Whereas in central Europe it’s more like guys our own
age, say 40s or 50s maybe because of Eurovision… who
knows. That’s our blessing that we have pretty good
recognition around the world actually; there could be
7 year olds right up to pretty old people, but we’re very
pleased with that fact. So the kids, 80s metal fans and
family people are all present and welcome. It’s a good
place to be in that we do it for ourselves, and that’s
rewarding and honestly whoever else likes it, that is a
plus for us. Music has no age limit, well it shouldn’t
have!
MM: Would my daughter would be safe in the
presence of Lordi, how would she find it?
MM: So with May’s tour coming up, and I believe
that this is your biggest jaunt in the U.K. yet, what
can we expect from the Lordi live show?
MR:I think that she would be safe with Lordi
(creating chuckles from the main man himself ), she
would be fine and we would embrace here. She is more
safe than with you! Kids love monsters… right?
MM: Given the connection to Eurovision, when
Lordi became something of a household name, how
has that effected the crowds you are playing to?
MR: It definitely depends on the country actually…
I suppose for us, like most bands, the diehards are
always going to be plus/minus 20-year olds right? For
us in Scandinavia they tend to be a little bit younger
and even some little kids, probably due to the whole
monster image, because of the image we get lumped
into a bag with Kiss, W.A.S.P., Twisted Sister all
MR: Well it’s been 2008/2009 since we have played
the U.K. and we have never done this amount of days
before, I mean 8 or 9 is good going we are pleased. The
bottom line here is that you will see monsters playing
heavy rock, that’s what we start to build on, of course
there is going to be plenty of theatrics, but not any
‘pyros’ this time around. It will be a show, and one you
can bring your daughter to also… well as long as she
likes blood and guts and shit… not physical shit he
bursts out with a chuckle, but plenty of eye opening
stuff. Think along the lines of Alice Cooper at his best,
and we may change a few songs night to night as there
will be a few diehard fans who will come to more than
one show, so we are determined to look after them.
The basic structure of the show remains the same
every night, especially when it comes to the tricks. We
hope to turn a few more heads our way.
MM: Is the Lordi vibe a positive or negative feeling?
MR: I really hope that people don’t get a negative vibe.
We do this for ourselves and hopefully people get a
buzz out of seeing monsters up on that stage playing
this kind of music. We try to encompass a fun vibe and
positive feeling whilst blasting out some heavy rock.
We are massive Kiss and Alice Cooper fans, and they
create a feel good factor whilst encompassing a dark
stage show. We’re not nasty freaks, and if you like those
mentioned bands and Twisted Sister and W.A.S.P.
hopefully you’ll get what were about and we should
fall into that mould. If you like good ass kicking honest
rock n roll then you should definitely check us out, oh
and remember we are the prettiest band on the planet!
M
M
IT
RUINED
MY
LIFE
Q.Age
I left the Transylvanian woods to be able to make music
somewhere in the west. From working in a cemetery to
washing dishes, from the bar to the morning after, i did
everything i could... and tried to not complain.
I formed the band in 1999, back then called Quaad H.
Band info on qage-music.com
After 12 years of working and many, many mistakes, i
finally had the feeling that i am close to it. I had the dream
team. From investors, to my band mates, from well-known
producers to well-known places, all wanting me to be a part
of them. It seemed like every puzzle went well.
I thought i was on the sunny side of the beam, i had an
album ready to reach the world with beautiful heartfelt
songs, co-produced and mixed by top producers.
Expensive videos, a booking agent who was really into
investing for the future of our future. “Friends” wishing me
well, “Friends” with good intentions.
More than that:
A promotion company, who was about to start an extensive promotional campaign with Apple on
our side, chosen as one of the six bands in the world to be promoted big time. A dream that every
musician would pray for was ready to take shape.
All sudden the manager decided to change the name of the band with the intention to only feature the
singer.
And the clocks went like this:
The album rights were signed over to the managers company.
The singer left with the manager.
The other band members left as well a couple days later.
No more energy on my bank account.
And some serious health problems occurred out of the stressful situation.
It was a cold autumn day and i thought that this is the day that ruined my life…but actually that
November day was the day that changed my life completely.
I discovered that there was a power somewhere in me that really was waiting for that day to get out.
I realized that the whole foundation upon the house was build, was sand. I realized that, for the first
time, i took possession of my own mind. Finally i started to work on my foundation.
I was always looking to write a concept album about my life and i delayed it from one year to the next.
Up to that point i was always looking for somebody to help me writing and for a singer to sing the
songs. I realized that I can have more than one singer to sing the songs, why not, on each continent,
a singer, since we are all so interconnected :-). I saw a plain field of possibilities.
All the hopes, dreams, inner conflicts went into a 4 pieces-conceptalbum written from the dungeons of my soul. Fifty-two songs spread
over four seasons, representing the life of a musician today.
I just let it go and the doors started to open. I stopped looking at my
financial aspect before doing things. I focused only on “the idea” and
the idea made it possible. The energy of it created a real place in the
world.
I had to be cut down to zero to realize that believing is indeed the
cornerstone of what we can build upon.
I had to go down to that same freezing point to realize that nothing
can be called failure until you accept it as such.
I had to build on sand and then restart building my foundation on
solid ground to realize that I want to have a mission in life not just a
career.
My Life In Music: The Ten Records
That Shaped My Destiny…
Q.Age
Pink Floyd - “Dark Side Of The Moon” - There is no plastic filler on
this album.
Depeche Mode - “Violator”- The image, the songs, the sound is not
from this world.
Beatles - “The White Album”- The greatest songs.
And all sudden i
realized that I don’t
want to get rid of the
journey for the name of
the destination.
But most of it I realized
that I had friends,
“winds” and family on
my side that supported
me the whole time,
friends and family that I
didn’t see before.
M
M
Radiohead - “Pablo Honey”- What a mood!!!
Apokrypha - “To The Seven” - Apocalyptic songs and atmosphere
at best.
Renaissance - “Ashes Are Burning”- One of the most underrated
bands ever. Annie Haslam rules.
Rainbow- “Rising”- One of my faves voices with an awesome rock
album.
Tool - “Lateralus”- I listened a thousand times to this album and
there is still something to find out.
Shinedown - “The Sound Of Madness”- This is the best rock band
at the moment, my poor opinion.
Massive Attack - “Mezzanine” - With this album i had the feeling,
for the first time in years, that there is still a lot to be discovered in
the music.
An interview
with...
Interview by
Ian Pickens
Dropkick
Murphys
Mass Movement catches up with
the affable Ken Casey from Boston
Legends the Dropkick Murphys prior
to the release of their new album
‘Signed and Sealed in Blood’ and a
packed out UK tour...
MM: From the first track on the new album. ‘The
Boys Are Back’ it’s obvious you guys are having a lot
of fun; is the title a nod to Thin Lizzy?
KC: <Laughs> I think the whole point of that song
and that title is setting the tempo for the rest of the
album. It’s like ‘We’re Back’; it’s a slap in the face right
from the off you know?
MM: There’s another song on this album about
wakes (‘Jimmy Collins’ Wake’); what is it with you
guys and funerals?
MM: Thanks for taking the time out to talk to us.
KC: No problem; my pleasure
MM: What’s the atmosphere like in the Dropkicks
camp with the imminent release of the new album
‘Signed and Sealed in Blood’?
KC: Oh very enthusiastic, you know from the very
start of writing the first song of an album to the release
when the public gets to hear it, it’s a long time coming;
you truly are like a kid on Christmas morning, or
rather more like a parent on Christmas morning,
waiting for the kids to open a present; this is like
waiting for the fans to open a present.
MM: You’ve been quoted as describing the last
album ‘Going Out In Style’ as intricate and difficult
and this new album as catchy and fun; what’s been
the biggest difference in writing and recording the
two? You certainly looked like you were having a lot
of fun in the video of ‘Going Out In Style’.
KC: It’s all relative I guess. I was talking more about
the writing of it. With ‘Going Out In Style’ all the
songs had to connect the storyline of the character,
which made it quite intricate; but it was still a fun
album. It’s always fun when it gets to the playing, but
sometimes the writing is complicated, is what I meant.
The fact that on ‘Signed and Sealed in Blood’ we didn’t
have to adhere to a storyline… it was like someone
took the leash off; we were able to let loose.
KC: <Laughs> Ah well, you know you’re gonna
have one eventually. That was basically the storyline
of a guy where at his wake everyone came out of the
woodwork. He was the first ‘fan favourite’ of Boston;
he was a player, a coach; he was the first manager of
the Boston Red Sox before they became the Red Sox;
manager for the first World Series that we ever won; he
was the original Fan’s Favourite.
MM: You’ve come quite a long way from the early
days of the band when you did split eps with the
Anti-Heroes and Al’s old band the Bruisers; some
would say the Murphys have become part of the
Boston establishment, yet you have retained your
original fan base of punks and skins; is it a difficult
balance to maintain; and how do you maintained
that balance?
KC: I don’t think it is difficult if you are legitimately
putting your soul into something; doing something
that you feel is right. The band has never tried to have
success for the sake of success. We’ve always answered
to ourselves, whether we are on our own label or on
Epitaph Records, we’ve always done what we wanted
to do; but the thing is if you’re not growing and
expanding your fan base, then you wither and die. If
you stay where you are just to keep that core fan base
happy, you’re gonna lose that support eventually. You
don’t see the Anti-Heroes playing; the Bruisers very
rarely play. It’s hard to play in a band and not strive to
better yourselves. We’ve grown at a slow, steady pace
and I think the fans can handle that better than if one
day you’re playing your local pub and the next day
you’re playing to thousands.
MM: Do you think a lot of your fans have grown
with you; from young punks to married middle
aged people with kids?
KC: Well if you look at our shows, in whatever city
it is, you find the people who maybe booked us the
very first time we played that city, but 17 years later,
like you say, they might have their kids with them; but
yeah we stayed close to the original people who
supported us
MM: On ‘Signed and Sealed in Blood’ the band
have taken on the tradition of writing a Christmas
song; albeit in a non-traditional way; did you think
the world needed a break from ‘ The Fairytale of
New York’ ?
KC: ‘The Fairytale of New York’ is one of my
favorite Christmas songs of all time. When we were
recording the album Tim came up with that riff on the
accordion; we said ‘that’s a Christmas song right there’.
We kinda just felt that the Dropkick Murphys could
take a tongue in cheek approach to a Christmas song.
It’s a fine line between cheesy and tongue in cheek.
What I like is when people first hear that song, the
intro sounds all sweet and nice, and it’s like ‘Oh my
God are they going to write a cheesy Christmas song’
and then BAM.
“We’ve grown at a slow, steady
pace and I think the fans can
handle that better than if one
day you’re playing your local
pub and the next day you’re
playing to thousands.”
MM: That was one of the strengths with ‘Fairytale
of New York’, the juxtaposition between the music
and the lyrics…
KC: Exactly. When you put the words ‘Scumbag’ and
‘Faggot’ in a Christmas song, you know it’s not going
to be a cheesy Christmas song <laughs>.
MM: For a lot of people their first exposure to the
band would have been through Martin Scorsese’s
film, ‘The Departed’ which featured the song
‘Shipping Up To Boston’; are you guys big fans of
that film?
KC: Oh Yeah. To be given the opportunity to be
involved in a Scorsese film about your city; it’s a real
gift for a band. The story of how it came about is kinda
funny; a couple of our friends had small parts in that
movie and they all claimed that they got us in that
movie, but Scorsese claims it was Robbie Robinson
the guy he goes to for all his music collaboration. It
was just crazy to hear that the first people Scorsese
thanked when he won the Oscar was us. It was just a
real honour you know.
MM: And it got you onto the Simpsons as well…
MM: How’s the tour going so far?
KC: We’ve just finished the tour in the US. We were
playing six new songs each night. We opened with ‘The
Boys Are Back’ and people were singing along with the
words already; it gives us a lot of encouragement.
MM: The number of UK dates is quite small
compared to the tours you used to do back in the
early 2000s’ is that down to cost of touring in the
UK.
KC: <Laughs> Yeah I guess if you make it onto one of
the longest running TV shows in the US you’re pretty
legit right?
their Celtic heritage and ancestry? It’s not so
common with Americans of Scottish or Welsh
descent.
MM: Did you think ‘The Departed’ gave an
accurate portrayal of Boston?
KC: Probably because in a place like Boston it was
such a tightknit community, and maybe there wasn’t
such a massive migration of the Scots or Welsh to one
particular location. I think it all gets watered down
over time, but back then the patriarchs of the family,
be they the fathers or the grandfathers from Ireland,
obviously passed on the traditions accordingly. In a
place like Boston it’s really entwined within the fabric
of the city whereas in other places it’s just a case of ‘my
last names Irish; I’m gonna paint my face green’ you
know <laughs>. I think here, it’s a little bit more real
you know?
KC: Yes and No. I laughed at a lot of it. Characters like
Alec Baldwin’s, and some of the lines he had, made me
fall out of my chair laughing. I think parts of it are true
but it’s Hollywood so it’s glamourized and dramatized.
The Boston it portrayed was 20-30 years ago; it’s a lot
different now.
MM: Why do you think so many Americans of Irish
descent have maintained such a strong link with
KC: It’s partly down to cost and scale, but we also like
to leave a bit of room in case we want to come back
and play some different cities like Cork or Edinburgh.
When we did the big, big tours in the UK we used to
just play the UK and Ireland; we didn’t do mainland
Europe; but because we’re promoting a new record we
wanna go everywhere; so we’re doing UK, Ireland and
Europe on this tour, and we still need to get home and
tour the US after that, so you have to keep it moving,
so to speak.
MM: What’s next for Dropkick Murphys?
KC: The touring schedule is booked pretty heavily.
After the European tour it’s pretty much straight into
the US, then it’s Australia in April and then we go to
Hawaii and then the West Coast, Coachella Festival,
some TV shows… Conan O’Brian; we’ll have a little
break in May and then we’ll be back in Europe in
the summer doing the festivals; so it’s a pretty heavy
touring schedule but hey it’s good to have places to go.
M
M
dropkickmurphys.com
An interview
with...
Interview by Mark Freebase
SixFeetUnder
Chris Barnes is a vocalist who needs no introduction in the world of metal.
With Six Feet Under about to release their tenth studio album (not including
the three Graveyard Classics full lengths) titled ‘Unborn’ and way less than
a year after ‘Undead’ it was a little unexpected but there was a plan for
the way things happened so fast…
Photos by Stephanie Cabral & Chris Barnes
MM: ‘Undead’ or ‘Unborn’ what is the difference as
there seems to be a bit of a theme running through
the two albums? Even the artwork is extremely
similar.
CB: To tell the truth they are both linked really, so
it’s sort of a conceptual idea between the two, they
do tend to follow on. The difference however in my
mind is that ‘Undead’ is more of a raw, in your face
straightforward death metal album where as ‘Unborn’
has more of a rhythmic, atmospheric, more frightening
overtones to it. ‘Undead’ was released in May 2012 so
that’s nine months ago only, they were kinda meant to
be released at the same time but the record label felt
we had such good material so they wanted to space
them out a little bit. We had about 20 songs written
and a lot of the material for ‘Unborn’ was written at
the same time, a bit like a continuing session of writing
and recording for about a year and a half. However the
rest of the songs were finished after ‘Undead’ had come
out.
MM: That makes complete sense then if you look at
the artwork, the titles, and the release dates of both
albums.
CB: Yes I can see that, but it is a different feel coming
from ‘Unborn’ as I said. Although the similarities are
extremely prominent. The artwork is similar, and it is
meant to be, it is a conceptual album and the thoughts
are linked etc, I’m sure the feeling of both albums
is represented by the colour tones of both of the
artworks.
MM: So how did the titles come about then? Was it
a conscious decision to have the close link?
CB: To be honest we decided that the first release
would be called ‘Undead’ and then we’d decide on
what the next would be called after we had started
to get it together. It wasn’t really planned to stagger
both and give them similarities. It just worked out
that way as I felt it was more exciting to do it like that
as we addressed the structure of ‘Unborn’. It was a
pretty sound plan actually as many of our fans will ask
us about a month or so after we release a record “hey
dude when are you guys gonna come out with another
album? We’ve played this one to death now, we want
more”… people’s attention span seems to be a little
shorter; I mean I remember myself waiting a couple
of years for the next Slayer album thinking I really
wish they’d come out with something way sooner. I try
to understand the psyche of the fan a little bit. But I
love to write you know, the more I do the better I feel.
My favourite part of being in a band is writing and
recording, trying to find that perfect song.
MM: With there being so many songs kicking
around at that time were there thoughts of ‘Undead’
being a double album?
CB: Well I’m sure it’s gonna end up like that with both
being closely related and now with the finished version
of ‘Unborn’ they seem to be two items from one
package. It seems to me that it would make sense
somewhere down the line if a special edition of both
those releases came packaged together. I try and look
at everything when it comes to look at the songs and
stories, the music and the lyrics, it was a really big
undertaking to pull this together with everyone and
everything involved. It feels like the final puzzle piece
has been put together now with this album and I’m
really proud of it.
MM: The cover for ‘Unborn’ is disturbing to say the
least - how would you best describe its content?
CB: In my opinion it’s a view into the mind’s eye…
the mind’s eye of madness, the mind of psychosis,
the mind of insanity and there are just demons and
different interpretations of the songs that are held
within.
MM: The song titles conjure up a lot of gruesome
images again, how do you continue to find
inspiration after ten CDs, that’s around one
hundred songs…
CB:I simply just try and let the song speak to me on
its own wave. When I receive a finished song and it’s
all mapped out I really just meditate away to the music
and let it fall into place. I try and let the music tell me
its own story as I really sometimes don’t know where
the music is going and I draw from it flowing out of
my mind instead of forcing it. Occasionally I will have
a song title when I start and go from that, or maybe
within the first few seconds of hearing a song I could
write down a sentence. I’ll work from ideas, but never
force it. I can say honestly it comes deep from opening
my mind in meditation and opening my third eye
making a spiritual journey whilst understanding what
the music is speaking to me. An inner dimensional
puzzle... Working at night and of course I smoke as
much weed as possible and that helps with all the
process.
MM:There have been some new members of Six
Feet Under, how did the changes come about?
CB: Well Steve Swanson has been with me since ’98
now and some of the other changes came because,
well, I suppose lack of motivation from certain areas.
I need to move forward and be around people who
are looking to move forward with music and have the
right intentions behind what Six Feet Under is doing.
Sometimes it did feel like the band was standing still
and maybe members weren’t feeling excited anymore.
I honestly don’t want to mess around man, either shit
or get off the pot he lets out laughing. It’s time to work
dude. Let’s make some music; I love to make music
it’s the most fun you can have and if you’re not having
fun then I want to be with people who wanna be with
me. Six Feet Under is the same type of vibe and the
same band from back in the early days but just with
some different people involved now. I seem to attract
people with a bad sense of humour it’s one of the prerequisites for being able to get along with me and I do
seem to have a few real strange characters in the band
now that compliment my weirdness as well. These guys
definitely drive me to a deeper place of craziness. We like to have a good time definitely and they are all younger than me and Steve by 10/15 years, so we have to give them
a run for their money from time to time… they don’t think that we can keep up with them sometimes, but sometimes it’s looking like they can’t keep up with us! We like to
live a bit and we have a really good camaraderie on the tours and stuff, it’s been a lot of fun. Age has nothing to do with it, and it’s still fun for the Rolling Stones and I think
that’s a great model to have y’know? I mean if Glenn Danzig is still doing it then I definitely can, he’s got a ten-year head start on me so… Anyway I’m gonna work through
it as its way better than the alternative.
MM: Are we going to see another instalment of ‘Graveyard Classics’ in the near future?
CB: I don’t think so actually. I always thought of that as a three-part deal. A trilogy if you like. I think that’s where it will sit for now unless something really wild happens in
the future. After the third one, that’s where it kind of felt like the complete deal to me.
“I simply just try and let
the song speak to me on its
own wave. When I receive
a finished song and it’s all
mapped out I really just
meditate away to the music
and let it fall into place.”
MM: What’s the life expectancy for Six Feet Under then. What do you see the band doing in the future?
CB: We will be out there for some time yet doing stuff. I don’t really have any slowing down and like I said this is still a lot of fun for me, I enjoy the lifestyle and I certainly don’t
plan on doing any changing in the foreseeable future. You can’t teach an old dog new tricks – music keeps you young! M
M
Never heard of them?? Or fed up with hearing about ‘the guy from Enslaved’s other band’? Well forget both
and realize now that Audrey Horne are the epitome of high-octane rock n roll with a real sense of power and
a complete surge of energy. We caught up with vocalist Tuschie so that he could educate us on the Norwegian
band’s position…
Interview by Mark Freebase
Photos by Tommy Naess
An interview
with...
Audrey Horne
What sort of crowd are you reaching out to then?
Hard rock… rock n roll…a real energy crowd - people
that can feel the music basically. Audrey Horne has a
lot of energy, especially in our live show and we want
to be seen by everyone who is into hearing our music
and having a good time. We have a good following
in Norway, England, and Europe so far and want to
get across to people who are rocking out. In Norway
for example our fans come from the metal, punk and
mainstream factors; all joining together for the party.
Poland does pretty well for us because of the Enslaved
link, and even when people realise Audrey Horne are
not in the same category they still seem to get hooked
on the party. In England we were lucky enough to do
the High Voltage Festival and Sonisphere Festival,
which was great exposure for us. I just want to say how
amazing the High Voltage Festival set up was. It’s such
a sincere organisation, we were looked after so well,
and it’s a great size and feeling. We really enjoyed that
one, and with the type of bands playing it was a perfect
billing for Audrey Horne. In 2010 we toured the U.K.
with Heaven’s Basement and The Falling and that was
a great time which bought the Audrey Horne groove
to some new U.K. people.
So what European festivities have you been involved
in lately?
I love festivals… the whole feel and vibe generated is
an amazing contrast of energies. Audrey Horne has
played some great festivals including Summer Breeze,
Rock Hard, Hellfest… you know we’ve never played
Download though and it’s so big and looks like real
fun and we’d love to do that one for sure, maybe in the
future? But actually it’s at the small festivals where
you get treated the best, the promoters try and give a
real personal feel and try to accommodate more effort,
maybe it’s that family vibe? But hey, Audrey can mix;
and it’s where we feel so comfortable and that also
reflects in the feel from the music I believe…
So where did it all begin then? How did Audrey
Horne come about, was it to party and have fun?
Well the theme started by us basically having a laugh.
We did four or five gigs as friends, and then we set
about some recording, as there was such a positive vibe
from what we had created. We were really getting to
know one another very quickly and that accelerated
the process very fast, also the fact that an A&R guy
made us an offer for a CD very early on as he could see
where we were coming from with the whole musical
feeling. The theme for the band is quite retro-high
octane rock n roll and we love playing live.
With members active in other bands, does that
create a writing domination or is Audrey Horne
governed by one force?
“The theme for the band is quite
retro-high octane rock n roll and
we love playing live.”
Audrey Horne is definitely the product of the five of
us. Often we just jam and the ideas come up. We are
always introducing ideas for this band, and although
it features members from other established bands
Audrey Horne is most definitely a group in its own
right. I mean we never refuse an idea, whoever it comes
from. If it works we go with it… if it’s not that great
then obviously we leave it! Also we write for ourselves
firstly, and think about the outcome afterwards. It’s
just good honest rock n roll really.
I’d say we are five guys who have a basic collective
source of inspiration in Van Halen, Kiss, Motley Crue,
Deep Purple, Kiss… you get the feel? Also if you take
my own personal influences, I’m from a punk and
hardcore background and upbringing, but I love Steve
Earl, Tom Waits and also the Doobie Brothers so we
have an eclectic mix in there also! Our bassist also
really digs 70s disco, whilst our drummer is a huge
Dream Theatre fan so whilst we have that retro rock
identity we still draw from a lot of different aspects as
musicians. That’s probably why we get people like old
school Saxon fans right through to younger modern
day rockers getting into this band.
Who are Audrey Horne influenced by?
With ‘Youngblood’ being your new release on
Napalm Records, how did you go about composing
and planning its amazingly refreshing delivery?
Well, we’d taken in a lot of ideas. I think we had
between 20 and 25 songs ready to go which we could
chose from to make it onto the new album. We would
listen to all the tunes thoroughly and try to pick out
what would work, and what we could improve on to
make them accessible to the fans. Not saying that’s
all we were interested in, as we had written these
songs for ourselves primarily, but also how we could
improve them for the audience. We just had to figure
out the best twelve songs to fit the pieces of the puzzle
together and really create a positive outlook for the
band. Our album is just a little over 43 minutes long
and we were thinking “maybe this won’t be acceptable
for the label, maybe it needs to be longer” as a lot of
focus is given these days on how much listening time
you are given for the price, but the label just said “Hey
Slayer’s Reign In Blood was 28 minutes long and that’s
a fantastic record, no problems. If it’s good it’s good”.
So we tried to make sure it was all killer no filler!
We would have loved to record it all analogue as it
creates so much of that retro feeling and proper band
sound of playing live. It just captures that energy,
but due to the usual time and cost restraints that
unfortunately didn’t happen. Don’t get me wrong it’s
still a fantastic record and we could play the entire CD
live if we wanted. That’s so important to me.
So coming from Norway how are the church
burning jokes these days? I bet some people have to
ask you about it?
You know I am absolutely nothing to do with that
scene at all, neither is the band, but the amount of
journalists who ask “so tell me, what is your opinion
on this…” and “does it still happen?” and I have to keep
saying sorry, but I don’t know. I sometimes wonder
whether these people have actually listened to Audrey
Horne or not. It just makes me laugh when they don’t
do their homework!
By the time you read this Audrey Horne will have
played a headline show at the Highbury Garage
in Islington, London. That’s just one date though.
What have you got planned as far as other U.K.
jaunts go?
Well we do have an U.K. Tour planned for April
together with Ancient VVisdom and Sahg, and you
can catch the band on these dates:
April 27th NOTTINGHAM – Rock City
April 28th GLASGOW – Ivory Blacks
April 29th BELFAST – Limelight 2
April 30th DUBLIN – The Pint
May 1st MANCHESTER – NQ Live
May 2nd LONDON – Underworld
Audrey Horne ‘Youngblood’ is out now on Napalm
Records and if you need an adrenalin fix of postgrunge punk rock with an injection of high-octane
rock n roll then this the record for you. If you’re a
little unsure then definitely check out the amazing
‘Redemption Blues’ on YouTube. M
M
audreyhornemusic.com
It ruined my life
The moment that changed (ruined is debatable!) my life was when I was flicking through some old vinyl records on a market stall. I came across an
album called ‘Rainbow Rising’. It was initially the artwork that caught my eye, being a fan of fantasy art – it really stood out and made me think ‘if the
music on the record matches the artwork this has got to be worth it’! As I was young at the time and had only been playing guitar for a few years, I
hadn’t yet been educated on the vast world of rock.
I bought the LP, took it home, put the needle on the record, and sat back and listened, whilst at the same time scanning every inch of the gatefold
cover, taking in the artwork, the lyrics, the band members’ names and what they looked like in the pictures (sadly a pleasure lost on today’s music
formats!). By the last track on side 2 I knew everyone involved in the album and had a thirst to hear anything else they had recorded.
The album opened my eyes and ears to a new sound I hadn’t heard before. It was big, vast, epic, powerful, aggressive, and impressive. But it wasn’t
until the last track (‘Stargazer’) that my mind was completely blown, and if buying the record wasn’t the moment that changed my life than hearing
this track was! It was a monster of a track – it had everything, and as soon as the track ended I must have replayed it 5 times in a row. Music I heard
from then on had a new benchmark to meet.
After that day I hunted down the names on that LP and discovered my new guitar hero Ritchie Blackmore, Deep Purple, my vocal hero Ronnie James Dio, the band Dio, Black Sabbath, Toni Iommi, etc, etc… and rock music in general. The doors had been opened to another world that
shaped my playing, my aspirations, and formed the basis for every band I have put together since.
As a direct result of that moment I and the band try to continue the power and ‘epicness’ I heard that day and every day since in the music we create, and as a nod of thanks we dedicated our debut album ‘Bring It On Heavy’ to the late, great Ronnie James Dio for the part he played in pointing
us in the direction that has lead us to this point, and opening the doors to the music we love.
www.valverider.com @valverider
Valve Rider can be heard via streaming music sites such as Spotify and Deezer as well!
As told to The Impaler @impalerspeaks [embed: http://www.twitter.com/impalerspeaks]
Nathan Moore
VALVE RIDER
Interview by Martijn Welzen
An interview
with...
AYS
Sometimes big surprises come in small packages. And it’s not
just the three letter name which is small. The band’s complete
background, from upbringing, to label, to the way they do things
is very modest. But it’s that modesty and integrity which makes
German band AYS one to look out for. Hardcore started at grassroots level, and AYS breathe that. ‘Suburban Haze’ is a portrait
of a band of regular guys stepping onto the stage and showing
how it’s done.
MM: Obviously hardcore is linked to a particular
style in music, but you seem to be living hardcore,
with touring the world, records on independent
labels, and lyrics with a message. How important
are these aspects for you? And what extend do you
need to be in control of things?
AYS: Playing in AYS became the most important thing
in my life. I joined AYS 5 years ago and I’m glad to
have had all these experiences with my friends. I don’t
think that opportunities like these are given in any
other music genres as in this scene. We still take care of
AYS by ourselves as far as possible. We all have jobs or
are studying so it’s cool to have some people who help
us in booking shows, running a label or putting our
merchandise in their online store. But for us it is still
important to do our shirts designs and cover artworks
by ourselves as well as booking shows or setting up
tours without booking agencies.
MM: Having said that, where is the line, according
to you, between using all available resources offered
to you and giving up your identity? In the 90s a
few hardcore bands signed to major labels, and
defended this by saying they could now spread
their message to a wider audience. Would that be
something you’re willing to do?
AYS: I would never blame a band for taking this
opportunity if it is worthwhile, but for us everything
is possible without a major label. We were lucky to get
known by a lot of cool people around the world as we
traveled, so we had the chance to release our records in
Europe, the UK, Australia and also Asia on a few DIY
labels which is the way we like it. It’s something we can
be proud of. Also, nowadays it’s so much easier even
for small bands to reach a big audience via the Internet
in social networks, blogs or whatever.
Kenet booked a couple of shows in Malaysia and
Singapore. That’s the story.
MM: You founded AYS in 2002 at a time when
hardcore was still going strong. Over the course
of the past few years, things don’t seem to be
going that well for the ‘scene’ in general. Still you
maintain that energy and power to keep going. Have
these changes made you stronger in that sense? Is
the hardcore scene maybe even better off being
smaller?
MM: Coming from a small town in Germany, how
do you think touring has changed your perspective
on the world?
AYS: We saw a lot of kids join and leave the scene,
that’s true. I think hardcore always has its ups and
downs. At the moment many kids are listening to
metalcore bands and never really heard about the
origin of hardcore.
MM: Having been able to tour Australia and Asia
as a small band must have been a tremendous
endeavour. How did all this come about? Who
organised it all?
AYS: Some years ago we shared the stage with
Carpathian from Australia on their European tour.
We got in contact and Martin started his DIY label
Dead Souls Records on which we wanted to release
our record down under. During the planning of the
release we had the idea that a tour would be a good
promotion for the Dead Souls release so Martin
booked a headline tour for us with Carpathians side
project Warbrain and another Australian band The
Hollow.
Our singer Schommer was also in contact with a dude
from Malaysia called Kenet doing Brainwreck Records
and we thought Asia is just on the way to Australia.
AYS: All of us grew up in small towns. Nearly
everybody know each other and the people are
sometimes not that open minded. Usually people
always do what others have done before. I can say that
I always felt open minded but touring and the contact
with different cultures gave me more opportunities
for my life. To see things from different perspectives
and that I can find more solutions for problems than I
would have found without my band experiences. This
change in our personalities can also been found in our
lyrics. But this topic is especially discussed in our new
record Suburban Haze. The title speaks for itself.
MM: Has hardcore also been a way of getting away
from boredom? I get the idea that this is what
‘Suburban Haze’ also means. Being stuck in a
suburb without any clear direction of where to go.
AYS: Yeah, you’re right. Suburban Haze deals with this
boredom in our youth and the lack of orientation. This
is one of the reasons AYS was founded in 2002.
MM: It’s been three years since your last release.
Do you think of AYS as more of a touring band than
a recording band? Would you like to stay on the
road all the time, if possible?
AYS: Of course we do, but it is really hard to take this
step if you have responsibilities. I really look up to
bands that decided to live this way. We started to write new songs one and a half years ago. Due to a lot of shows and tours we played, writing new songs took its time. We
wanted to have a new record for our 10th anniversary but it didn’t work out so we released ‘Suburban Haze’ for the Rebellion tour. It’s not necessary to release a record every
second year, just to keep on touring.
MM: One of your new songs is called ‘Ambitions’ is that also to do with the band? You seem to be one of the hardest working bands around. How do you look onto so
many newer bands that just expect to be handed the world on a silver platter?
AYS: We play more than 50 shows a year. Our singer often says on stage that we’re very happy with our experiences we made, especially in our tours outside Europe but
everybody has got nearly the same starting point as we had. It’s possible for everyone to start a band and do what you want. That doesn’t means that you don’t have to work for
that.
MM: How have your music, or lyrics changed since the last release?
AYS: Now we are between 24 and 31 years old. So I think we’re kind of growing up and changing which has definitely had an influence on our new songs.
MM: How do you write songs? Do you prefer to introduce songs live, first, before recording them, so get feedback from the audience?
AYS: We already have a couple of ideas for a new LP. But for the moment ‘Suburban Haze’ is more important. Our van is very small so we never tried writing new riffs on the
road. We do it in our rehearsal room or record ideas at home and send them to each other. When a new song is ready and we are convinced about it we also play it live but only
if we’re also hitting the studio soon.
MM: What are your plans for the near future? Will you be heading out to other continents again? Is there a specific country / city you would like to play?
AYS: This year it’s hard for us planning more tours. Pietz is studying in England at the moment, Schommer has moved to Hamburg for an internship. The rest of us is working
hard. But we definitely want to tour Asia and Australia again soon. M
M
facebook.
com/
SoulWrecked
An interview
with...
Gama Bomb
Interview by Mark Freebase
Evolving from the new wave of thrash, but keeping the fun and old school ethics and vibes of the
original 80s heyday, Gama Bomb return with their fourth full length album to date… jeeeez has it really
been that long since they spawned?
Keen to track down a few honest answers I spoke with bassist Joe McGuigan, and considering that the
band are a lot younger than myself I was really keen to find out what turned these Irish chaps onto a
love of old man’s music… what really got the whole cocktail of molten thrash metal boiling ready for
their AFM Records release ‘The Terror Tapes’?
So Joe, at an era when thrash metal was down on
its knees, what caught your attention and created a
passion for something so unfashionable at the turn of
the millennium?
Well when we were growing up we seemed to be into
Guns ‘n’ Roses and Ugly Kid Joe. Then the nu metal
scene took off and people got into Fear Factory and
Korn, but we definitely took a step backwards and tried
to make a path towards some earlier stuff. Iron Maiden
was a band we warmed to, and then our local library
closed down, and luckily as all great libraries should
have - our library had a great selection of 80s metal
albums all on cassette so we got ‘Armed and Dangerous’
by Anthrax and Nuclear Assault’s ‘Survive’ amongst
other great underground thrash releases all for 50p each!
Absolute treasures for the likes of us 10 and 11 year olds.
We then became big Metallica fans, and then even bigger
Megadeth fans and it kept evolving, as you know.
So as the older ‘original’ scene died a death, what
would you say were the last pivotal classic albums of
that era? Where did you see the movement dip?
Obvious records were Megadeth’s ‘Rust In Piece’
and Sepultura’s ‘Arise’ but also great albums included
Forbidden’s ‘Twisted In Form’ and Artillery’s ‘By
Inheritance’ I think there were some really good bands
but maybe they had just moved on, they were probably
trying something new I guess. To me personally I don’t
feel there are many bands after 1991 that turned out
really good thrash albums.
Was that due to grunge being a heavier sound, and
thrash - great as it was - had a more guitar-based
sound and was maybe a little thin on the ground
compared to the new contemporary bands such as
Nirvana, Tad and Mudhoney?
I think maybe people were just a little bored of
listening to thrash. The likes of Nirvana and Napalm
Death put a new excitement into heavy music, and all
the bands I really liked in 1991 weren’t putting out the
same quality of records as before.
Well it wasn’t overnight that’s for sure. When Exodus
got back together in 2002/3 I saw them in Sheffield
with Nuclear Assault and Agent Steel and there were
maybe 130 people there at the show, so it was a process
during about 2003 to 2006/7 when a lot of the older
bands were getting back together again and some of
the newer bands were coming out. I believe the likes
of Trivium and Machine Head had a great deal to do
with the input though, fans of those bands reading the
interviews and started checking out the bands who
were being name-checked, bands like Testament and
their ilk. Gama Bomb’s mission statement from day
one has always been ‘try and write good thrash’ and
leave out the annoying bits. I don’t think for really fast
bands there is any place for extra padding.
Do you think the ‘Black’ album by Metallica killed
thrash?
I do think a lot of bands saw Metallica rise to new
heights, and saw how popular they had become, and
the thought of the money made, and probably the
thought “yep we can also do this”. Bands like Flotsam
& Jetsam with ‘Cuatro’ and Testament with ‘Ritual’,
on those releases they seemed to slow it down and got
thinking about a bit of metal mainstream recognition,
Exodus had ‘Force Of Habit’ also. All good albums in
their own way, but a sound without the crucial edge I
craved. Slower songs… longer songs… errrmmm safer
songs. Even Kreator tried it with ‘Renewal’.
Both of us laugh as I tell Joe that back in the days of
‘Ride The Lightening’ if you ever prophesised that
one day Metallica would be a house-hold name and
classed as a classic rock band, then people would
laugh at your thoughts considering their sound was
so advanced and aggressive. By 1991/92 Metallica
certainly weren’t cutting edge anymore!
A lot of the diehard fans weren’t into the 90s sounds
and wanted the older vibe, that kind of taught Gama
Bomb a lesson that we should do what we wanted, and
we shouldn’t try and do something else to please a fan
base that doesn’t exist. That’s why we sound like we do
- I would like to think that Gama Bomb would be my
favourite band if I weren’t in them.
So collectively what would Gama Bombs influences
be?
So was ‘The Terror Tapes’ written for you yourselves
primarily? Is it the album you wanted to naturally
release?
Definitely. Gama Bomb’s way of trying to progress is
to move on by writing better songs, not changing our
style. We have tried to evolve naturally over the four
releases without losing the classic thrash feel. We just
want to write catchier chords etc. we certainly are not
trying to re-invent the wheel here… just trying to make
it spin round faster again. ‘The Terror Tapes’ is a thrash
record I would like to hear my favourite bands release.
So what made this style of music acceptable again?
How did the media come to take interest and what
do you think bought the attention around for the
public and music fans to really sit up and listen to
thrash metal again?
I’d say a mix of the L.A. thrash sound, so I’d probably
mention the likes of Megadeth, Agent Steel and Dark
Angel and then the German sound, definitely Tankard
and Sodom. The German sound had definitely more
of a punky feel to it, but a cool infusion of the two
was what we had in mind. When we were young
though Nuclear Assault were a big influence on us (so
East Coast thrash/crossover also gets a mention, and
understandably too) and the thing to remember is that
at the end of the 80s Nuclear Assault were headlining
the Hammersmith Odeon whilst a lot of the other
bands such as Exodus were still playing clubs and
smaller places across the country.
Reminiscing shows from the later part of the 80s
sees us go off track a little, and brings a tear of
nostalgia to myself, but it’s great to see such an
influence from that era transform and morph into
an exciting movement once again. I mean, who
would not be impressed with Nuclear Assault
opening for Slayer on the ‘South Of Heaven’ tour…
That was an amazing bill, and I’m sure it helped
Nuclear Assault along the way too. Shortly after
that tour they came back over here to Ireland with
Acid Reign and Re-Animator in tow, incidentally I
was really pleased to see Re-Animator have gotten
back together again the other week. There’s a real
revitalisation ascending.
O.K. is that so in the Gama Bomb camp then? I
mean with this your fourth release, are you still a
real happy family band wise?
Well we did lose our rhythm guitar player Luke last
year; he started the band with me and Philly and that
was definitely hard as when we first started out it was
the three of us writing the songs. You know, it’s tough
sometimes when there’s not a pot of gold waiting for
you at the end of the thrash rainbow, and I think with
Luke he had done everything and been everywhere
he wanted - we’d been to America and been to Brazil
etc amongst others - so I just think he wanted to get
married and he rightfully said ‘that’s enough’. It was
hard to get over for a while, but the rest of us still get
on fine. This album had a long gestation period as we
had switched labels before recording this album and
we had some other things to deal with along the way;
Philly had an operation on his throat, and Domo our
guitar player ripped a tendon so we had our obstacles.
This album was definitely more of a struggle to get
made but we still do get on great, it strengthened us
against the forces conspiring to stop us!
What caused the label switch then?
One of the main causes was the fact that AFM Records was
willing to licence our album to different parts of the world where
they weren’t going to release it. Places like South America and
Mexico, places Gama Bomb had toured with our last release, but
we had no physical distribution for those areas so we were going
and playing shows for hundreds of people who would only be
able to download our album and not get the actual release, that
was frustrating for us actually.
We talk a little bit about the U.K.H.C. scene and the
metalcore bands like Stampin Ground and Freebase, who
crossed over to quite a few metalheads and weren’t just stuck
in a trend-conscious scene, how did Gama Bomb feel about
this?
We were aware of what was going on, and had been to some
of the gigs around the late nineties and early 2000. When
Gama Bomb started gigging around 2002 until about 2005, we
didn’t really play at any shows with thrash bands at all, we were
supporting hardcore and punk bands – G.B.H., Poison Idea and
The Undead to name a few. We are also very good friends with Scott Atkins (former Stampin Ground guitarist)
who incidentally produced the last few albums for us. The punk and hardcore scene never really seems to have
gone away and I can see why maybe a lot of metal fans have gravitated towards that area.
Was Scott your first choice of producer?
Originally Earache guided us towards using him, they wanted us to work with him for our track on the
compilation ‘Thrashing Like A Maniac’ and we seemed to get on really well. He had knowledge of a lot of the
bands we loved, it was good to be able to talk with him, and he knew exactly what we were going for, rather
than if we went with someone else who may not have had the knowledge or enthusiasm of thrash metal. We had
considered using a couple of other producers, as Scott was actually doing a Cradle Of Filth album, so was not
available, but as it happened Philly had his throat surgery which held us back and when he was done Scott was
available. We had always talked about doing a record with one of the ‘classic guys’ but on listening to some newer
recordings we didn’t get that same teen-buzz. We just thought let’s stick with what we know. ‘The Terror Tapes’
isn’t the album we want to be experimenting on at all.
We didn’t want to gamble and make a bad sounding
album just to work with an old name.
Motorhead. ‘Another Perfect Day’ is my favourite
Motorhead by far, Robbo replaced Fast Eddie and it’s a
very memorable album.
Tell me about your tour plans…
…Ozzy or Sabbath?
We’re doing a European tour with Artillery and
Torture Squad for three weeks, then onto the U.K. for
five shows in July, but we’re not sure who’s playing with
us yet. Then it’s back to the U.S.A. for a month with
Artillery again. I’m stoked to be playing with Artillery
as I’ve never seen them before and it will be great to
finally get to see them a bunch of times ‘When Death
Comes’ is a really, really good record, it’s got that kind
of ‘By Inheritance’ sound and vibe y’know?
Definitely Sabbath, as I was never a fan of Ozzy’s solo
stuff at all. I would turn off ‘Mr Crowley’ if it came on
the radio!
So in the last few years what would you say have
been the greatest releases of the thrash revival?
A man of impeccable taste (well almost… I think
Ozzy’s solo stuff was great), and the bassist of one
of thrash metals brightest new hopes. I feel I could
chat with Joe about a lot more music, but guess I’ll
have to wait for Gama Bomb to grace the English
shores. Until then ‘The Terror Tapes’ released on
AFM Records in April will give me the thrash metal
medication I seem to crave. SO whether you dig the
old school or new school – CHECK IT OUT! M
Now that’s a tough one I guess, there’s been a few,
but, maybe Vektor’s ‘Outer Isolation’ - they seem to
incorporate lots of very good ideas into their songs
and Helstar ‘King Of Hell’ which was pretty similar to
their old stuff and gives an old school vibe. You’ve put
me on the spot here…
Okay, so to round off the fun I thought I’d
incorporate a bit of Gama Bomb tomfoolery with a
quick-fire quiz. So hang on, as Joe has to decide…
Dickinson or D’ianno?
Dickinson, as ‘Powerslave’ and ‘Piece Of Mind’ are
unbeatable.
… Motorhead or Venom?
… Hagar or Roth?
Ah Roth! I used to prefer Hagar when I didn’t know
what I was talking about but then when I experienced
classic Van Halen it was D.L.R. all the way.
M
facebook.com/
gamabomb
PAINT IT BLACK
“Invisible” 7”
Six New Songs!!
CHRIS WOLLARD
& THE SHIP THIEVES
“Canyons” LP/CD
Chris of HOT WATER MUSIC!
COLISEUM
“Sister Chance” 7”
Super Limited Edition!!
AGAINST ME!
“Reinventing Axl Rose”
Picture Disc LP
Remastered for 2012!!
CLEVELAND BOUND
DEATH SENTENCE LP/CD
Paddy DILLINGER FOUR & Aa
ron Cometbus!
GRABASS CHARLESTONS
“Dale & the Careeners”
LP/CD Best Album of 2012!
HOT WATER MUSIC
“Live in Chicago”
3xLP / 2xCD+DVD
30 Song Album! 80 minute DVD!
A WILHELM SCREAM
“Boat Builders” 7”
Super Limited Edition!!
THE SWARM
“Parasitic Skies” LP
12 Songs!! Remastered for 2013!!
SAMIAM “You Are
Freaking Me Out” LP/CD
Remastered for 2013!!
F@#&ing Facebook ruined my life
About an hour ago
Yip, if it wasn’t for meeting old friends on Facebook during our high school 10 year reunion in 2008, I’d never
have signed up for internet access at home. Without internet access, I would never have fulfilled my childhood
dream of becoming a writer.
You see, I always wanted to write, to create, but I never knew where to start, especially in a country where
English is not the common tongue.
But, of course, the internet has everything. Bloody internet!
So I decided to check it out. Hey, what have I got to lose, right?
Holy crap, where should I start?
How about my social life, or most of my hair; thankfully the grey ones are sticking around. Then there are the
hours of solitude I spend behind my computer, or reading. You can’t be a writer if you don’t read excessively.
Hours and hours each day . . . all alone. Most of that time is spent banging on my keyboard and shouting at
characters that don’t even exist. Idiots!
And, because I write horror, I’m bloody scared most of the time. The dark seems just a little darker than it used
to. I can’t even sleep alone without leaving the TV on for an hour or two.
Even my wife likes to scare me while I’m writing. Or whenever, because I’m always thinking and dreaming of
weird stuff and wondering how I could make it ever creepier. That’s what horror writers do, right? You bet.
And, you guessed, people think I’m pretty demented. Don’t worry. I’m so happy they took the time to talk to me
that I jus agree with them.
And on top of all this crap, I have two jobs. Two jobs! I work the entire day at one job just to come home to
another one. Who does that to themselves?
Since I recently became an editor and publisher, I have . . . damn, I don’t even want to count that high – fear of
heights. Don’t judge. And the sheer number of new friends and writers I’m meeting every day is just astounding.
Yip, Facebook screwed me big time.
Oh, and my back hurts from sitting the entire time. Damn Facebook!
Joe Mynhardt
www.Joemynhardt.com
Like Comment Don’t Give A Shit
Joe Mynhardt is a South African
horror writer, publisher, editor and
teacher with over fifty short story
publications. He has appeared
in dozens of publications and
collections, among them DARKER
MINDS with Gary McMahon,
Stephen Bacon and many others.
He will also appear in THE
OUTSIDERS alongside great
authors such as Simon Bestwick,
Ray Cluley and others. Joe is also
the owner and operator of Crystal
Lake Publishing. His editorial
debut, FEAR THE REAPER, will be
available in the second half of 2013.
His own collection of short stories,
LOST IN THE DARK, is now
available through Amazon.
Read more about Joe and his
creations at www.Joemynhardt.com
or find him on Facebook at “Joe
Mynhardt’s Short Stories”.
An interview with...
Dead City Records
Interview by Mark Freebase
New York City is the home of hardcore. Emerging from an exciting
music scene in the early to mid-80s John Franko decided to be
a part of what he was witnessing, starting Nawpost Records and
then evolving it into the legendary Dead City Records as well
as fronting hardcore punkers Awkward Thought. Undeterred by
the current state of the music ‘industry’ he still retains his
passion and plans for a number of new releases..
L’Amours in Brooklyn and that was cool although
sometimes weird. King Diamond with the Cromags??? What fucking crazy line-ups in the 80’s. In
1986 I went to my first CBGB matinee and I was
hooked on hardcore punk and the CB’s scene. Going
to so many shows I was so lucky to see so many bands
and interact with so many people. I went to CB’s and
ABC No Rio religiously every weekend back then. In
1991 I annoyed the hell outta Sam Mcpheeters from
Born Against and Jim Gibson from Noiseville Records
asking them how to start a label. I played bass in NO
WIN SITUATION and starting a label was another
way to keep active in a scene that I loved. So I started
Nawpost Records released about 10 releases in the
early-mid 1990’s. Then in the late 1990’s I changed the
name to Dead City Records for the hell of it. Yeah I
got the name from the Exploited song.
MM: So John, when did Dead City Records begin,
and how did you come about starting the label?
JF: I had been going to Punk, Hardcore and Metal
shows since the early/mid 80’s. But I was under 16
(which was the age a club would let you in back then)
so I would use fake ID. Back then you could bring
a photocopied birth certificate to a venue as proof
of ID. We would just type over the birth date, then
re-photocopy it, and it worked. Saw all the metal and
punk bands when they first toured and played New
York including Slayer, Death, Celtic Frost, Motorhead,
Venom, Kreator, Possessed, Suicidal Tendencies,DRI,
Exploited, and just about every band you can think of
that came to New York then. What an amazing time.
That was when thrash, death metal, and hardcore was
so young. Some hardcore punk bands would play at
MM: Did you have any hidden agendas with the
future of the labels roster? I mean, was there a more
punk and hardcore approach in the foreseeable
future?
JF: Well I love Punk, Hardcore, and Oi. But the
bottom line is I release what I like no matter what the
style. So far I only have released New York bands. So
many labels change their style during their existence.
They start off releasing hardcore and then 20 releases
later they are releasing pop music or something else.
I just wanted to stick with Hardcore, Punk, and
Oi. So when someone sees the Dead City logo they
know what they are getting. But who knows what can
happen down the road.
MM: What made you choose your first release?
JF: I was good friends with No Redeeming Social
Value and their music on SFT records was getting out
of print. So the band asked me to do it and Kevin from
SFT was cool with it so I re-issued No Redeeming
Social Value “Hardcore Your Lousy Ass Off ” and that
is what kicked off Dead City.
MM: Were they easy people to work with? Is there
a conscious sense of ‘band’ and ‘label’? I mean,
how hard is the content of a release? Is that in your
control?
JF: The guys in NRSV have been great friends with me
for over 20 years. They are realistic and down to earth
when it comes to sales and releasing music. Working
with them is always great. I don’t tell any bands what
they can or cannot put on a record when it comes to
music. If I did not like the content of a release then I
would not do it, but that has never happened since I
only release what I like and only work with cool bands.
MM: What drives you and what do you plan for the
future?
JF: To release physical product (CDs, Vinyl) nowadays
I usually hook up with a European or Japanese label
that can help with the distribution. The decision is
based on how many albums that can be sold to see if
it’s worth releasing. I not only have to cover pressing,
mastering, and sometimes recording costs, but I spend
money on publicity and that can add up. While I am
not in this to make a living (I work a “real” job to pay
the bills), I also do not want to lose money on Dead
City. So any money made from the label gets reinvested right back into the label.
MM: Punk / Hardcore / Metal releases... how does
it differ? Is there much diversity amongst the fans?
JF: Seems that more and more people nowadays like
many different genres of music. Talk to a Mohawk
punk kid and they’ll tell you they love Iron Maiden
or something that you would not expect. Talk to a
gangsta new jack tough guy and they’ll tell you they
like old school Exploited music. As far as selling at
shows, Punks are always broke and would rather spend
money on beer than a shirt. Skinheads usually buy stuff
because they are working class and have jobs. Hardcore
kids spend half their money on merchandise and half
their money on drugs. Ha ha.
meeting people, discussing music, getting turned on to
new music,…. it’s all gone now for the most part. Now
I sell more shirts than CDs or vinyl. But the profit is
so much less and it makes it a struggle to keep the label
going. Digital Downloading of music has its benefits
but I’d prefer a world with Vinyl, CDs, and Tape
Cassettes. OLD SCHOOL!!! I guess you can’t stop
progress.
MM: You talked earlier about the name change.
How did you go about creating the Dead City logo?
JF: Not really, because I do the label on my own free
time I can release what I want when I want for the
most part. The lack of CD/Vinyl sales definitely
slowed things down though.
JF: The Dead City logo was drawn by AWKWARD
THOUGHT and RUN LIKE HELL guitarist Rich
Marafioti. At the time he was in high school and I
asked him to draw me a logo and he did a quick sketch
and I used it. He asked me if he could re-do a better
Dead City logo but I told him that I liked the sketch.
Rich is now a tattoo artist out in Chicago and has
done a few record covers and T-shirt designs for me as
well as other record labels.
MM: From those intensely exciting early mid-90s
first releases to today’s ‘music buying climate’ how
have thing changed?
JF: Well it’s pretty obvious. I hated CDs when they
first came out. I was old school into vinyl and tape
cassettes. Now I could only wish CD sales were back
again. CDs were so profitable and could really make
or break a labels existence. The cover art, the lyrics,
photos, and drawings on any insert were part of the
whole experience. process of going to a record store,
MM: Is there anything that has nearly halted the
continuation of Dead City Records?
MM: Have you had any real surprises with the
amount of copies sold for a product?
JF: Well it is pretty typical to press 1000 CDs
nowadays. But that number was at least 2000 or more
a few years ago. As with anything the cost per piece is
cheaper to press more in the beginning, but I do not
want to be stuck with product. I guess the CD that
sold more than I thought is the Billy Club Sandwich
“Usual Suspects” CD. Thanks to amazing USA and
Japanese sales those numbers were awesome.
MM: What’s your opinion of the ‘scenesters’ who
think labels make big bucks and rip off the bands?
JF: People think that because I suppose there are labels
who do “rip off ” bands. When label owners try to
make a living from the label then the music profits go
into paying home bills for the label owner. The label
owners are not necessarily trying to steal from bands
but the profits do not go to the bands. But if you are a
band and sign a contract with any label then you need
to read that contract. I have no pity for bands who sign
a contract and then bitch about it later. And I am not
saying that because I am a label guy. I am in numerous
bands so I consider myself a band member first and a
label owner second. All bands today that I deal with
are totally realistic about sales and they know that
there is no real money to be made from underground
punk and hardcore. Reality has set in for most of these
bands. Physical sales are dead and they better play a lot
of shows and sell lots of T-shirts if they want to make
any money.
MM: Is there a band who you would really like to
get a release with, who’d you’d jump at the chance
asap?
JF: I always wanted to re-release the Life’s Blood
“Defiance” 7” as that is my favourite record of all time.
Years ago I was told another label has the rights to it
and it still sits unreleased to this day.
MM: So is there any ‘drive’ in you to make a
claim for it? Is there any way that you could get
permission granted - how strict are issues like that?
JF: Well there are a lot of other releases I would like
to do also but it’s just a pain in the ass finding people
nowadays. People change phone numbers 10 times a
year. Emails that worked at one time no longer work.
Then you have these twits that only check Facebook
and no longer check email. Then every band member
you speak to has no idea who really owns it and they
do not want to be the one who gives you permission to
re-release it. Just pathetic bullshit.
MM: How do you see the future of the label over
the next few years? Have things changed much for
you since the start?
JF: I cringe at the idea of turning my label into “digital
download only” label but it may happen with many
of my releases in the future. I am old school and like
to associate a “release” with a physical product (Vinyl,
CD) with photos, art, lyrics, liner notes, etc. The T-shirt
and other non-music merchandise definitely picked up
since the beginning. Sometimes it is the T-shirt sales
that keep me going. But over all I enjoy doing the label
so when the enjoyment ends then the label will end.
MM: Is the decline of physical sales as bad as some
statistics make out? Or do you think certain parts of
the music industry have been exaggerated?
JF: The decline of physical sales sucks for record labels,
it sucks for bands trying to make some extra money at
shows (by selling their CDs on tour), and it sucks for
consumers who like the “complete package” with the
music. But I am not going to get into a debate about it
because nothing is going to change it. Kids today are
programmed to download music (or steal it). Give a 12
year old a tape cassette and they think it’s something
from prehistoric days. Some people think digital
downloads are the best thing since sliced bread. It does
benefit some musicians because their music can be
instantly spread worldwide.
MM: What would benefit things for the labels and
music fans?
JF: What would best benefit the labels is obvious – if
people would pay for music instead of stealing it.
Labels cease to exist if they always lose money. Also it
would be nice if more people went to shows instead of
watching the show on You Tube the next day. Get out
of your fuckin’ house and live a little. Especially the
underground punk and hardcore kids – we need the
support to keep our scene alive.
MM: Where’s the best place for people to check out
the Dead City stuff ?
Well I just signed a deal with Richard Branson that
Dead City merchandise will be sold on all Virgin
Atlantic flights. So when you order your tea and
crumpets while in-flight remember to pick up a Krays
CD and a Sheer Terror shirt. Next year I hope to have
Dead City merchandise being sold at all South African
cricket matches. Ha. But seriously you can check your
local distributor to see if Dead City merch is in stock.
Some people that have had my stuff in Europe are
Core Tex Records in Germany and Rucktion distro in
the UK. In the USA, Revelation Records distro and
Hostile City distribution carries my stuff. In Japan try
WD Sounds distro. But a lot of the shirts and other
merch (skateboards, hats, wristbands, mouse pads, etc)
are only available on the Dead City Records website so
check out www.deadcityrecords.com for all music and
and merchandise.
MM: On a closing note then John, what 3 products
would you personally say are quintessential
for people to have, or own from the Dead City
catalogue, and why have you chosen them?
JF: Now you are gonna put me on the spot. You can’t
have a parent choose their favourite kid without
insulting the other kids. If you want to know the
variety and style of Dead City then a good selection
would be to check out THE KRAYS “Sangre”,
BILLY CLUB SANDWICH “The Usual Suspects”,
and any NO REDEEMING SOCIAL VALUE
or YUPPICIDE release. But let’s not forget about
SHEER TERROR, KILLING TIME, and THE
CRUMBSUCKERS. So you can’t just check out 3 –
you must get them all. They all kick ass! M
M
deadcity
records.
com
“Basically,” I said to Evan, as we sat in his father’s car, driving over the
Williamsburg Bridge, “It’s about the space-time continuum. And all the
problems that that presents.”
Evan just shrugged his shoulders, and tried not to laugh.
“It’s like this, time is measured on a straight line. Point A. Point
B. Etc. If you took that straight line, and folded it into a circle, like a hoolahoop, then things get strange. Point B, could, presumably, come before point
A.”
“You’ve been watching too much of the Sci-Fi Network,” Evan
remarked.
“No, really,” I screamed at him, “It’s true, and not only does time
become nonlinear, it is conceivable that since time is now looped, one can
travel through the center of the circle, going from Point A, to, um, let’s say,
Point K. This would be comparable to Einstein’s idea of traveling at the speed
of light.”
“Your theories are a cross between ‘Quantum Leap’ and ‘Star Trek’”
and “Doctor Who”, Evan told me, annoyed.
“You don’t get it,” I said, actually foaming at the mouth, “I could travel back in
time. Kill Hitler. Save Kennedy. Fuck that aerobics instructor in college.”
George Tabb.
“George,” said Evan calmly, “You are way too fucked up. You can’t do this to yourself anymore. If
this continues, we are going to have to fire our drummer. John. He and his...”
As Evan talked, I heard his last word first, and his first word last. The time loop. Then,
as we pulled into Manhattan, I suddenly found myself exiting Furious George rehearsal back in
Brooklyn with my guitar in hand, saying goodnight to John, and his mother. Then the bright
lights started, and I felt THAT DOOR open. The one where I hear that “whooshing” sound.
Suddenly I was back in the car with Evan, and he was telling me that I watch too much of
the Sci-Fi Network. Deja Vu. Again?
I began to panic. The space-time line had actually rolled over, and I was now traveling
through it. Alone. And scared.
Suddenly I began to scream wildly in the front seat of Evan’s dad’s car.
“Evan,” I yelled, “Ya gotta call Al and Ziggy, Captain Picard or Q., The Doctor or them
worms that make the ‘Spice’ in Dune. I’m inter-dimensional time traveling and I can’t stop.
Evan sort of grinned, and then calmly said, “George, I warned you, Pussies shouldn’t
smoke pot.”
***
It was all our first drummer’s fault. John. He’s the one who had the weed. Killer weed.
Well, maybe it wasn’t his fault. But I’d like to blame him anyway. Actually, I should have
known better.
Much better.
When I was seventeen, and in my junior year of high school, this kid, Kevin Sands, rolled
a joint.
Kevin was the big reefer dealer of Leon High School, in Tallahassee, Florida. Everyone
went to him to get their stuff. I, of course, was way above buying the stuff. It was given to me
because I was so cool. Or so I like to think. The truth was I was always broke, and my friends
were such pot-heads, that they always had a bong hidden in their locker, and their ashtrays
in their cars were full of weed. So I’d bum it off them and get fucked up. Usually before first
period. Like at 7:45 in the morning.
One day, after working a particularly nasty shift a night earlier at my bag boy job at Publix, I
decided that I’d spring for a whole joint of my own. And spend a whole dollar. So I talked to my
pot-head friends, Dave, Mike, and Peter, about where to get the best “stuff ”.
They all told me the same thing. Kevin Sands was the main dealer of the school, and his
shit was “rad”.
I told them I’d never met Kevin, and should I be scared. I imagined some big tall guy,
with nasty dreads, big chains around his neck, and semiautomatic weapons holstered under his
arms.
They told me Kevin was an okay dude, and set up a meeting with me and him in the school parking lot,
after school.
When the three o’clock bell rang, I went to the flag pole, where I was to meet Kevin, and purchase
“the stuff ”. As I stood there waiting for the school’s biggest drug dealer, some kid in black framed glasses
walked up to me. He was wearing a button-up paisley shirt, and green trousers, and his wavy brown hair
was a mess.
“What’s up?” said the Jerry Lewis looking guy to me.
“Um, not much,” I answered.
“So, what’s it gonna be?” he asked.
“What’s what gonna be?” I answered back. Why was this guy bothering me? I’d seen him in
my chemistry class. And Home-Ec, too. He was always in his own little world, and he reminded me of
Dilton Doily, from The Archie comic books.
“What’s it gonna be?” he repeated, annoyed.
Then it hit me. This was Kevin. He wasn’t ten feet tall, with huge rings on his fingers, gold teeth,
and chains that would sink the Titanic, he was, well, shit, me. Well, without the leather jacket, of course.
“Um, I wanna buy some, um, marijuana,” I said to him, as quietly as I could.
“What kind?” was his answer.
Suddenly I found myself fumbling during my first big drug deal. My one dollar joint. What did
he mean “what kind?” David, Mike, and Peter mentioned nothing about kind.
“Um, what kind?” I repeated.
“That’s what I said,” answered Kevin,
annoyed. I think his glasses began to get
fogged up.
I thought for a second, then said
“regular.” Like I was at a gas station or
something. I figured unleaded sounded
too weird.
“Regular what?” barked Kevin
Sands, annoyed.
I stammered.
“Regular Hawaiian? Regular
Thai Stick? Regular Mexican Gold?
Regular Mexican Red? Regular
Tallahassee Green?”
“Um, whatever I can get for a dollar,” was
my answer.
Kevin then explained that the Tallahassee Green he grew himself, in piles of cowshit, and was the cheapest, and also gave you a great buzz.
“I’ll take that,” I said, slipping him a one dollar bill in the palm of my hand, like my grandfather used to slip me money. At Chanukah.
He then opened a cigar box full of joints, pointed to the “Tallahassee Green” section, and told me to pick one. I did.
It was the worst choice I ever made in my life.
***
The next morning, before school, on the way to our bus stop, I lit up the joint, and smoked the whole thing myself. When I’d gotten home the day before, I’d
hid it inside the body of one of my G.I. Joes. It was easy, I just popped off his head, and stuck it in there. It was as good as a place as any. And my parents wouldn’t find it.
Unfortunately, our dog, Sassy, a great dane, did. I found her running around later the evening with my doll in her mouth.
“Bad Sassy,” I yelled at my nearly 200 pound dog, “give George back his G.I. Joe.”
Finally after some negotiating, and offers of my dad’s raw Filet Mignon in the refrigerator, I got my doll back. Joint, unharmed. And Sassy got her steak. And my Dad yelled at
my Step-Mom, and had to eat frozen pizza.
So I smoked the whole thing, and got a good buzz, as I waited for the bus.
Then I got a better buzz.
And better.
And even better.
And then better than that.
Something was wrong.
Then that door “whooshed” open. And the buzz was too good. I was too high. Suddenly lights began to blink all around me, and I found myself lighting the joint up
for the first time. Then I found myself waking up. Then in School, a day earlier, talking to Mike, Pete, and David.
As the colors, and time traveling became more intense, all I could think was that I had been poisoned, and was gonna die, like some drugged-out kid on “The Mod
Squad”.
While all this was happening, my brothers and stepsisters were laughing at me at the bus stop. They said my eyes got “totally weird”, and I looked like Frankenstein.
The next thing I knew I began to run home, not wanting to go to school like this. Then, as I ran, I watched myself run. Up hills. I saw myself in my blue corduroys,
white Izod shirt, and Nike All-Courts. I asked myself how I was doing, and I answered “Not too well”.
The rest of that day was spent jumping in and out of different dimensions, while being out of my body the whole time.
Eventually it got really bad, and I had a near death experience, and ended up in the hospital. But that’s another story.
Two weeks later, the lab tests came back on the roach of the joint Kevin Sands had sold me. I’d hidden it back in G.I. Joe. This time, in his head, though. I later gave it
to my shrink, who had it tested, anonymously.
“Well George,” said Dr. Kennedy, as I sat in his office, reading Highlights, that Goofus and Gallienent really crack me up, “besides pot in the joint, we found large traces
of LSD and PCP.”
“Huh?” I said, not knowing what the fuck he was talking about.
“LSD is Acid, stuff hippies took in the sixties to find themselves. PCP is Angel Dust. Bad shit,” the doctor explained.
“You mean Angel Dust as in that stuff I saw on ‘Quincy’ last week?” I asked.
“Same stuff. You are lucky you are not dead. There was enough Acid and Dust in there to kill an elephant. Why you are alive is beyond me,” explained Dr. Kennedy.
I said nothing. I was in shock.
“I’m not going to ask you the name of the guy who gave you the stuff, but make sure he doesn’t do this to anyone else” Dr. Kennedy then told me.
I told him I would.
“And also, I hate to say this, but expect long term brain damage from this event, as well as kissing the idea of ever smoking pot again good-bye. Your brain now knows
how to trip instantly. Even a hint of the stuff could send you flying. Sorry.”
I thanked him and left.
***
The next day at school, Mike, David, myself, and Peter confronted Kevin Sands. I told him about the joint, and he explained to me that that joint was meant for another drug
dealer, Leon, who was taking away some of his business. He explained that he was gonna kill Leon, make it look like an overdose, and then have run of the whole school, as well
as the nearby junior high.
We then took the baseball bats out from behind our backs, and sent him into right field. Pretty much for good.
“What’s the matter?” asked My Future Ex-Wife as I walked through our apartment door, with my guitar in one hand, and a stupid smile on my face.
“I smoked pot at rehearsal,” I said, grinning stupidly.
“You what?” she screamed?
“John had some, and so I tried it. But I didn’t inhale.”
My Future Ex-Wife looked at me. Visibly shaken. She knew my bad history with marijuana. Every time I even smelled smoke in the past, I began to trip. Now that I
smoked it, I was gonna be in trouble.
“I’m fine,” I said to her, “It’s just that the space-time line is fucked, and I’m dimension hopping.”
She kind of laughed, then asked me what was the matter as I walked through our apartment door, with my guitar in one hand, and a stupid smile on my face.
Suddenly, I found myself falling through that open door, like I did in high school. I saw myself talking to My Future Ex-Wife, and time began to move, well, sideways.
The next thing I knew I was laying on our couch, telling her I was gonna die, and that I saw my fate quite clearly.
She then smiled at me and said, “What’s the matter?” as I walked through our apartment door, with my guitar in one hand, and a stupid smile on my face.
She then took a thermometer out of my mouth and sighed. My temperature had dropped three whole degrees, and my fingers and toes where swollen. I was having a very, very
bad reaction.
Suddenly I found myself on The Williamsburg Bridge in Evan’s Father’s car, and Nick, my step-dad was with us. Then he was sitting on the couch, by my feet, telling me
I’d be okay. And sort of laughing.
After a few hours of quantum leaping, I found myself back in my own time, with My Future Ex-Wife and Nick, looking at me with real concern.
My Future Ex-Wife had called Nick when I started freaking out big time, and it turns out he’d been over for hours, helping her take care of me.
When I could finally speak, I told them both I’d never, ever, even try pot again.
Nick just kind of laughed, then, in what I swear was Evan’s voice, he said, “George, Pussies shouldn’t smoke pot”.
***
Endnotes:
1. This story was the ORIGINAL draft of what would later become a chapter in my first book, “Playing Right Field: A Jew Grows In Greenwich”. I suggest you check it out
as well as my second book, “Surfing Armageddon: Fascists, Fishnets and Body Fluids In Florida”. You’ll love them, I swear, or you’ll get your money back for this issue of Mass
Movement!!!
2. Of course it takes me forever to find out about all the cool stuff that’s right underneath my huge nose. That’s right, I missed the boat on this one, but you don’t have too.
Check out Drug Front Records. Every record they put out is really good, and few few are great and beyond! They guy who runs it, Dean Rispler, is and old pal who has actually
helped produce some of my older bands and has played with such legends as “Murphy’s Law” among others. The last time I’d talked to Dean he was still at Go-Kart Records, a
label I did some stuff with about twenty years ago. When I heard he had a new label, I got really excited. When he sent me some CDs of the bands, I just about had an orgasm
in my pants.
Holy shit! Where had I been? While I was going through all that 9/11 stuff and the health issues related to it (I still am), I missed a lot. Like my old pal, ex-roadie and
great all around kid Dave Harrison and his band. Only he’s not a kid anymore. He’s like, tall! And has a deep voice! And a cool as hell girlfriend who is in ANOTHER band
on Drug Front Records. But I’ll get to that. First, Dave.
Dave’s band is “The Mess Around”, and they are anything but a mess. Their first album, “Boner Time” is one of the best Rock n’ Roll albums I’ve ever heard! Where’d he learn
to play guitar like that? And sing? Holy shit! This thing smokes! The music is, of course, like any other great Rock n’ Roll band, blues based. In fact, if bands do not know the
blues, then they can’t really play Rock n’ Roll, and don’t count as such. There are way too many punk and hardcore bands out there that don’t know their roots. But The Mess
Around does!
With songs like “Shake It On Down”, “Answer Me Tonight” and “On My Way Back Home”, these guys play with such raw
guts and emotion, it makes me actually want to see them in a small smokey bar and dance! And George Tabb does not dance.
What the Fuck?
Each song is tight as hell, but doesn’t sound like it. It’s a blues thing that only a master can do, and some how, Dave,
Mark, Nick and Greg pull it off. These guys really FEEL like a Rock n’ Roll band, and belong up there with The Destroyers,
The Blasters, good X, The Blues Brothers, The Cramps, and even Stiv Bator’s solo album. And you must know I really love
that album on Bomp!
Anyway, their other tunes, including “The Coldest Month”, “Time and Time Again” and “It’s Alright” really all do hit
home runs, and if Rock n’ Roll ever really comes back on the radio, these guys would have a slew of Number One hits.
I don’t know what else to say except if you like your Rock n’ Roll straight up, The Mess Around don’t mess around.
Get this!
Cudzoo & The Faggettes are another home run for Drug Front Records. Fronted by three girls, these girls and guys
bring back feelings of The Ronnettes and other girl groups of that time. Only Cudzoo & The Faggettes do it with real New
York tongue firmly planted in cheek songs and lyrics. Even hand and arm movements!
And yes, one of the girls is Dave Harrison’s girlfriend. But I’m not gonna tell you who. Figure it out. Anyway, this
band does songs like “Daddy Issues” and “Machine Gun My Poon”, “Sequins Before Noon” and “Thrill Of The Chaste”. All
very funny and very very rockin’! Now, besides their CDs, there is seeing them live, which I must admit, had me standing
there with my jaw on the ground. So fucking clever and fun and good, I was in shock I’d never heard of them before. And
mad at myself.
Check Cudzoo & The Faggettes out, even if just for the fact that their bass player, Anthony, is a rock star who is
married to Anna from “Party Lights” and “The Recordettes”. John Waters would love this band. In fact, I would not be
surprised if they show up in his next movie. This band is great.
The new Two Man Advantage record is also on Drug Front Records. Now that I think of it, Dean had worked with
this Hockey Punk band back in the Go-Kart days, so that’s how he knows them. I was wondering.
This Long Island team, errr, band, play songs all about hockey and beer, and they’re not even from Canada. Their new
album, “Dynasty”, is just as good, if not better, then their last album. And just look up what I said about that!
Keeping up their tradition, they do songs like “Rookie Season”, “Legend Of The Pond” and “Keepers Of The Cup”. You get
the picture. If you like hockey, you’ll LOVE this band. If you like punk, you’ll think this band is awesome! All their tunes are
well written, and Spag, their singer, spits out the lyrics in tune, and with grace. You wouldn’t think that if you saw them live,
what with their hockey uniforms and Spag in his S&M black head mask and his very manly uncovered chest and six pack abs.
I loved this band from the start, and still do, and am happy to see they found a new home. Also, “Coach” now has a
mustache, which makes him all the more manly, like a real gym coach or something. And “The Captain” grew out his hair. I
kinda wish he’d cut it, though. Doesn’t look right for a hockey player. Then again, he’s one of the sweetest guys on the planet,
and most talented guitar players. But dreads? Really? Fuckin’ Hippie. Hey, I’m only kidding! See these guys, buy their CD,
and “Drink The Bar Dry”.
The Candy Snatchers last album, “Down At Delilah’s” is also out on Drug Front Records. You can hear Larry belt out the
tunes, while Matt jams away on the guitar. It’s sad that this is Matt’s last record, as he passed away a little while ago. He was
one funny guy, who had so much talent, and left us way too quickly. But his songs remain here. Like “Doin’ Time”, “She’s A
Real Asshole” and “Me & Uncle Willy” which refers to an ex-member who was an hysterical redneck!
I could tell you how great these guys were, how they could kick GG Allin’s ass, and bleed more than he ever has, and
how they simply rock, but you should hear them for yourselves.
Next time, I’ll tell about some more great bands on Drug Front, but in the meantime, check these bands out, and do
some research on the others....
3. “Off The Wagon” is World War IX’s new CD EP, and these guys sound more like early Black Flag than any other band I’ve
ever heard. And plenty try.
These guys nailed that “TV Party” meets “Jealous Again” sound with songs like “Cutlass Supreme”, “Price Of
Admission”, and especially with “Carrera Con El Diablo”. And their guitar player also puts out great comic books that have
me spellbound called “Earaches and Eyesores”.
These comics are SO TRUE about being a punk rocker in New York that it hurts. I mean, this guy, Justin, has it down
flat. What it’s like to hang out in the same bars and clubs, pick up the same girls, and throw-up with the worst hangovers, ever.
And his tribute comic book to GG Allin? Whoa!
Definitely check out World War IX, if only for their tune from the hit film, “Bath Salt Zombies”, with the tune of the
same name!
4. Lastly, new Doctor Who next week, which is great, since it’s the end of The Walking Dead for this season. What great
shows! They are both VERY Punk Rock! Happy 2013!
George Tabb.
Screen Damage
Rivers of blood: Going to hell in a baby cart
“When I was little, my father was famous. He was the
greatest samurai in the empire, and he was the shogun’s
decapitator. He cut off the heads of 131 lords...”
Some cult films come from out of nowhere while
others arise fully formed from well-established roots.
For Japan’s Lone Wolf and Cub, it’s definitely a case
of the latter – anyone who wonders why need only
consider the love and care with which the source
material has been lifted from the printed page and
transferred onto screens around the world.
Starting out as a popular manga strip – its original run
topped eight million sales in Japan alone – the comic
adventures of Lone Wolf and Cub have gone on to
become a celebrated series of theatrical films, a longrunning television show, a miniseries, four separate
plays, a cluster of television movies, a computer game
and much more.
Cited on the album ‘Liquid Swords’ by GZA of the
Wu Tang Clan, Lone Wolf and Cub have popped
up in numerous other mediums, including several
cameos in the ‘Samurai Jack’ cartoons, a semi-official
continuation of the original manga (this time with
the Cub having grown up to become the Lone Wolf )
and a futuristic (and badly received) post-apocalyptic
reimagining.
Horror superstar John Carpenter has paid homage to
the films, basing the look and style of the Three Storms
in ‘Big Trouble In Little China’ on villains from the
manga, and even author Max Allan Collins confessed
to the BBC that his graphic novel ‘Road To Perdition’
is at heart “...an unabashed homage to Lone Wolf And
Cub.”
It’s not hard to see why this 40-year-plus franchise
has proven to be so popular. In the early 1980s,
Roger Corman’s New World Pictures recognised
the moneyspinning potential of the ace ‘70s film
adaptations and hired Robert Houston (who played
Bobby in Wes Craven’s ‘The Hills Have Eyes’) to edit
two of the films together with a newly dubbed audio
track featuring early turns from the likes of Sandra
Bernhardt.
With a superb new synth score by Mark Lindsay of
Paul Revere and the Raiders fame, the resultant film
was released as ‘Shogun Assassin’ – a lightning-fast
mash-up that was briefly banned in Britain as a video
nasty and went on to feature prominently in ‘Kill Bill
II’ as the bedtime viewing of choice for the Bride’s
young daughter.
There have been various abortive attempts to stage a
modern Hollywood adaptation – it was a particular
dream project for Darren ‘The Matrix’ Aronofsky for
many years – but it is now looking increasingly likely
that hotshot director Justin Lin will be the man to
finally succeed in bringing Lone Wolf and Cub to a
modern wider audience. Once he has completed the
latest entry in ‘The Fast and the Furious’ franchise, Lin
has announced that he’ll be taking on the property
after Kamala Films acquired the rights and appointed
David ‘Blade Runner, Twelve Monkeys’ Peoples to
write the script.
Peoples certainly won’t be short of short of original
source material. Under the title Kozure Ōkami, the
manga ran to 28 volumes between 1970 and 1976.
Part of the Chanbara genre, it was written by Kazuo
‘Crying Freeman’ Koike, illustrated by Goseki Kojima
and immediately recognised as an important and
influential work.
The story tells the tale of Ogami Ittō, a master Suiō
swordsman in 17th century Japan who serves as the
Kogi Kaishakunin - the official executioner of the
Tokugawa Shogunate. Ittō falls victim in a plot to
discredit him by the Ura-Yagyū clan led by archenemy, Yagyū Retsudō. With his wife Azami dead at
the hands of ninja assassins, Ittō is framed and made
to appear as if he has been praying for the death of
the shogun at his family shrine, and is subsequently
ordered to commit seppuku – ritual suicide – along
with his one year old son, Daigorō.
“They will pay... with rivers of blood!”
Faced with certain death either by his own hand or
beneath the gathered swords of the Ura-Yagyū, Ittō
surprises his enemies by choosing a third option –
meifumadō, the road to hell.
Offering Daigorō a choice of a ball or a sword, Ittō
reveals that he is prepared to kill his son there and
then, and send him into the afterlife to join his mother.
But when the infant selects the sword, he seals his fate
as a ronin – a masterless samurai - alongside his father.
As they are about to defy the will of the shogun, it
looks likely that their new life will be short indeed.
But when confronted by Retsudō and his men, Ittō
displays his ruthless cunning by wearing robes bearing
the official crest or ‘mon’ of the shogun. As it was
considered sacrilegious to desecrate a mon or any
other official shogunate document – point a sword
at the crest and you may as well be pointing it at
the ruler himself - the Ura-Yagyū reluctantly agree
to allow Ittō and his son to pass through their wall
of swords, furious that a noble samurai would even
consider resorting to such a low trick. But as Ittō tells
them, “We who walk the demon’s path are no longer
ordinary men. All Japan lives beneath this crest. The
way of the warrior defers to this alone... it’s time I got
some use out of it!”
Determined not to allow his enemy to get away,
Retsudō challenges Ittō to face his eldest son, Kurato,
in a duel at dusk – the wily arch-manipulator knows
that if the challenger stands with his back to the
sunset, then its rays will blind Ittō, and give Kurato a
deadly advantage in addition to the fact that Ittō has
to fight while carrying his young son on his shoulders.
But Ittō foresees the deception, and ties a small mirror
to Daigorō’s forehead which reflects the light back into
his enemy’s eyes.
A horrified Retsudō can only watch as the decapitator
claims his latest head before escaping, and the sunset
serves as an achingly beautiful backdrop while Kurato’s
body staggers on, fountains of arterial blood spurting
high up into the early evening air.
“That was when my father left his samurai life, and
become a demon.”
From this launching point, father and son are
transformed into the Lone Wolf and Cub – assassins
for hire for whom no job is too difficult or shameful.
Travelling around Japan’s burgeoning system of roads
and highways with a wooden perambulator that
doubles as a pimped-out death machine (and which
gives the franchise its alternative ‘baby cart’ moniker),
Ittō and Daigorō quickly become legendary killers as
they carry out hit after hit, always seeking vengeance
on the Ura-Yagyū whom they aim to shame with
each murder that they complete. For their part, the
Ura-Yagyū are constantly hunting the Lone Wolf
and his cub, and spend the entire series plotting their
downfall in a series of ambushes, battles and elaborate
conspiracies.
Totalling almost 9,000 pages, the manga is both
beautifully scripted and illustrated, and has become
famous for establishing many comic ‘firsts’ – for
example, the eventual duel between Ittō and Retsudō
takes in 178 panels and is regarded as being one of the
longest fight scenes ever published.
As well as its epic scope, one of the reasons why the
manga series is so highly regarded lies is its attention to
historic detail and accuracy. Lone Wolf and Cub takes
place during the early Edo period (1603 – 1868), a 250
year span which saw the nation ruled by a succession
of Tokugawa shoguns who maintained a distinct class
system. The sword-carrying privileged samurai class
accounted for about 10 per cent of the population
and served military overlords called daimyos, who
exercised the shogun’s will. Both the Ogami and Yagyū
clans were real – the Ogami disappeared entirely in
1655 and their former role as Kogi Kaishakunin was
taken over by the Yagyū, who came to an end shortly
after this in 1681.
The story that Koike fashioned using this historical
fact may not actually be true, but there’s no denying
its effectiveness as a damn good yarn. In any event, it’s
certainly true that infighting, treachery and jostling
for favour within the shogunate were commonplace
throughout the period.
Below the samurai were the peasants, who lived only
to provide for their samurai masters, and below them
were commoner class outcasts such as prostitutes,
beggars, actors and entertainers. The Lone Wolf and
Cub adventures would feature all elements of this
class system, and even the lowliest characters would
regularly comment upon the scandalous life that Ittō
and Daigorō were pursuing. By turning their back on
humanity, father and son were freely choosing to adopt
an evil existence based on the ‘hell’ or eternal anger
state of Buddha’s Six Modes of Existence.
Throughout the manga, Ittō steadily whittles down
the sons and daughters of Retsudō until only the clan
leader is left. The climactic end of the comic saga sees
Retsudō slay Ittō after the decapitator’s dōtanuki
battle sword snaps in two – it transpires that, unable
to defeat the Lone Wolf in a fair fight, Retsudō paid a
sword polisher to secretly damage the blade. So, after a
lifetime of fatigue and bloodshed, Ittō ends his path of
meifumadō by failing to kill the enemy that he swore
to destroy.
Ultimately, it is left to Daigorō to avenge both his
fallen father and his slain mother. Retsudō does not
resist – he spreads his arms wide and allows the boy to
run him through with a spear, telling the child that he
is the ‘Grandson of my heart’ as he dies, thus bringing
the cycle of vengeance to an end in a suitably epic
fashion.
As far as the Lone Wolf and Cub’s various ventures
onto both the cinema and television screens are
concerned, the six films produced between 1972 and
1974 are considered to be the definitive productions,
and take as much care to remain historically accurate
as they do to remain faithful to the manga.
The first three in the series were directed by Kenji
Misumi and produced by Shintaro Katsu, the star
of the equally popular 26-part Zatoichi franchise.
Portraying the role of Ogami Ittō was Katsu’s brother,
Tomisaburo Wakayama – an accomplished martial
artist who was trained in disciplines such as Judo,
Kenpo, Iaido, Kendo and Bojutsu. Stocky and
powerful, Wakayama was nobody’s idea of a traditional
leading man, but his permanent scowl and understated
performance is a major reason why the Lone Wolf
films are so successful.
Also a busy actor in other areas, Wakayama made eight
films alone in 1972 (three of them entries in the Baby
Cart series). He stepped
up to produce the next
three instalments, which
were directed by Buichi
Saito, Kenji Misumi and
Yoshiyuki Kuroda and
released in 1972, 1973,
and 1974 respectively.
In the first, ‘Sword of
Vengeance,’ Ittō and
Daigorō set out on their
quest for revenge after
being framed and accept a
commission from a local
chamberlain to kill a rival
and his hired soldiers.
They find themselves in a
remote mountain village
which has been seized
by tobbicho - a gang of
mercenary ronin who are
also the targets of the Lone Wolf. The tobbicho have
taken over the village, raping and looting at will and
routinely slaughtering anyone who dares stand up to
them. Their leader suspects that he knows Ittō from
somewhere, but the ronin tells him that he is mistaken.
Forcing Ittō to stay in a room with several other
travellers, the bandits delight in calling him a
coward when he refuses to react to their taunts, even
threatening to kill a prostitute unless the pair make
love while they watch. To everyone’s surprise, Ittō
agrees – the tobbicho enjoy the spectacle way too
much to wonder how a supposed coward who is afraid
of death at their hands is able to bed the woman as if
he doesn’t have a care in the world. For her part, the
prostitute marvels at the thought of a noble samurai
who is willing to debase himself in order to save her
life.
Come the morning, the tobbicho announce that they
are leaving the village, but before they go, they plan to
slaughter Ittō and the other travellers to prevent them
from spreading news of their crimes. The words of a
sickly samurai and a monk at prayer help to unlock
the memory of the leader of the tobbicho, and the
doomed man realises too late who Ittō is. The former
high executioner emerges to face the gang, and a
breathless finale ensues as Ittō reveals the many hidden
secrets of the baby cart and proceeds to slice his way
through each of the ronin in turn.
“Fear his wrath... the wrath of lone wolf and cub,
assassin.”
Next in the series was ‘Baby Cart At The River Styx’
– or the river of Sanzu to be more exact (in Buddhist
cosmology, the Sanzu performs a role similar to that
of the Styx and is said to separate this world from the
afterlife). With the origin story out of the way, the
second entry runs at a breakneck pace and provided
much of the action for the later ‘Shogun Assassin’
mash-up.
A clan whose wealth depends on the production of
their much-admired indigo dye hire Lone Wolf and
Cub to kill a traitor who is being escorted to Edo
where he plans to hand over industrial secrets that
could put an end to the clan’s monopoly. The shogun
regards the traitor as being so important that he sends
out his feared bodyguards, the Hidari brothers, to
watch over him on his journey. Each brother wears a
long cloak, a wide-brimmed straw hat and specialises
in a different weapon – a studded club, spiked gloves
and a huge pre-Freddy Krueger metal claw.
Meanwhile, the Ura-Yagyū instruct their allies,
Kurokawa shinobi-class ninjas and the Akari Yagyū
clan of female assassins, to track and kill the Lone Wolf
and Cub. In a stand out scene, the lady killers first
demonstrate that they are up to the job by taking on
the Kurokawa’s best man, whittling off body parts
Come the morning, the tobbicho announce that they are leaving the village, but before
they go, they plan to slaughter Ittō and the other travellers to prevent them from spreading
news of their crimes. The words of a sickly samurai and a monk at prayer help to unlock the
memory of the leader of the tobbicho, and the doomed man realises too late who Ittō is.
The former high executioner emerges to face the gang, and a breathless finale ensues as Ittō
reveals the many hidden secrets of the baby cart and proceeds to slice his way through each
of the ronin in turn.
“Fear his wrath... the wrath of lone wolf and cub, assassin.”
Next in the series was ‘Baby Cart At The River Styx’ – or the river of Sanzu to be more exact
(in Buddhist cosmology, the Sanzu performs a role similar to that of the Styx and is said to
separate this world from the afterlife). With the origin story out of the way, the second entry
runs at a breakneck pace and provided much of the action for the later ‘Shogun Assassin’
mash-up.
A clan whose wealth depends on the production of their much-admired indigo dye hire
Lone Wolf and Cub to kill a traitor who is being escorted to Edo where he plans to hand
over industrial secrets that could put an end to the clan’s monopoly. The shogun regards the
traitor as being so important that he sends out his feared bodyguards, the Hidari brothers, to
watch over him on his journey. Each brother wears a long cloak, a wide-brimmed straw hat
and specialises in a different weapon – a studded club, spiked gloves and a huge pre-Freddy
Krueger metal claw.
Meanwhile, the Ura-Yagyū instruct their allies, Kurokawa shinobi-class ninjas and the Akari
Yagyū clan of female assassins, to track and kill the Lone Wolf and Cub. In a stand out scene,
the lady killers first demonstrate that they are up to the job by taking on the Kurokawa’s best
man, whittling off body parts until the warrior is little more than a head and a torso.
Both ninja clans make various attempts to kill the Lone Wolf and Cub as the pair move to
intercept the Hidari brothers, but all are defeated in some of the most breathtaking samurai
action ever put on film. The final showdown with the Hidari brothers takes place amid a
desolate plain of sand dunes. Ittō dispatches them with ease, leaving their leader to die from
a fabled cut across the windpipe which creates an eerie wailing sound known in the manga as
the ‘Flute of the Fallen Tiger’. With the traitor dead, Ittō and Daigorō walk off in search of
their next adventure.
The third film in the series, ‘Baby Cart To Hades’, see the Yagyū ninjas still hot on the heels
of the Lone Wolf and Cub, but all fall easily beneath his dōtanuki blade. While lodging at
a guest house, Ittō meets a terrified teenage girl who has been sold by her poor parents to a
yakuza pimp. Revealing that she killed the pimp when he tried to rape her, the girl begs Ittō
for help. He duly faces off against her yakuza owners, who cannot let the girl go without
losing face. Ittō earns their respect when he volunteers to undergo the girl’s punishment on
her behalf, and is tortured without mercy.
Once he recovers, the yakuza hire Ittō to kill a corrupt local official and his bodyguards, one of whom sports a pair of western pistols. Realising that he won’t get close enough
to draw his sword, Ittō uses his own son as bait, and as the six-shooter rides past a stretch of river, Daigorō pretends to drown. Diving in to rescue the struggling child, he first
discards his guns, only realising his mistake as Ittō explodes out of the nearby reeds to strike him down. This makes the corrupt official realise what he is up against, and the
climax sees an ambushed Lone Wolf fighting off a small army of warriors.
At this point, the baby cart is revealed to not only feature hidden knives, swords and spears, but a small battery of guns. It seems as if the former samurai will use anything and
everything to vanquish his enemies, even surprising an opponent who has disarmed him by pulling out one of the pilfered pistols and shooting him dead. No act is too low or
dishonourable for the disgraced ronin if it means getting the job done...
There is a coda of sorts when a proud ronin called Kanbei arrives as the battle ends to challenge Ittō to a formal duel. It only lasts a few seconds, and as Kanbei dies, he and
Ittō discuss what it means to be a samurai. The way of the warrior, Ittō tells him, is not to simply live or die, but to live through death. As the Lone Wolf and Cub leave the
battlefield, the awestruck young leader of the yakuza gang is restrained from following them by her own men, who tell her that Ittō Ogami is a monster made flesh.
In ‘Baby Cart In Peril’, Lone Wolf and Cub are hired to kill Oyuki, the renegade member of a daiymo’s han. It seems that the daimyo has sent many of his men after Oyuki, but
the sword-maiden has killed each and every one of them, cutting off their chonmage (a samurai’s distinctive top-knot hairstyle) after death to add greater insult to her defiance.
Ittō discovers that while Oyuki is renowned for her great beauty, she has chosen to have a huge image of a kintaro demon tattooed on her body, its claws seemingly grasping at
her left breast, while on her back is a grim depiction of a terrifying mountain witch from traditional noh plays called a yamauba.
It transpires that Oyuki has been killing the vassals and removing their hair to force the daimyo to send his best swordsman after her, an instructor who hypnotises his
opponents with a burning sword trick. Oyuki reveals that it was the instructor who caused her to rebel against the clan, for after defeating her in a duel, he went on to humiliate
and rape her.
Ittō locates Oyuki at the same time as the instructor, and duly steps back to allow her to confront her tormentor.
Mesmerising her with his flaming sword trick, the instructor steps in for the kill – just as Oyuki rips off her clothes to reveal her terrible demon tattoos, distracting him long
enough for her to rush forward and penetrate his body with her knife. The look of satisfaction on her face as she twists the blade fades once her nemesis is dead; with no further
reason to live, she agrees to duel Ittō. The Lone Wolf provides her with a splendid death, and dispatches her with dignity and respect.
Meanwhile, Retsudō has convinced Oyuki’s former lord to arrest Ittō, but the Lone Wolf and Cub escape by taking the daimyo hostage. Deciding to kill the daimyo and blame
his death on the Lone Wolf, Retsudō orders the Yagyū to attack en masse, and another huge fight provides the film with its climax. This time, Ittō succeeds in slicing his way to
Retsudō, and the two battle it out with barely-restrained hatred etched across their faces. The fight ends as Retsudō impales Ittō on a sword, while for his part Ittō takes out one
of Retsudō’s eyes.
As Retsudō flees, Ittō falls to the floor, apparently dead. Daigorō emerges from hiding and calls for his father. Hearing his son brings the Lone Wolf back to the land of the
living, and the films ends as Lone Wolf and Cub painfully leave the battlefield, wounded but still firmly set on the road of vengeance.
Father and son recover from their wounds in time for ‘Baby Cart In the Land Of Demons’, the penultimate film in the series. This time, Ittō is approached by a man who says
that he is the first of five messengers, each of whom will test the Lone Wolf ’s skills by attempting to kill him. If he survives, he will learn a little more about his intended quarry.
The messengers all employ different techniques to assassinate the Lone Wolf, including tricking him into drinking poison and duelling in a river where they fall for his famous
‘wave-cutting’ stroke.
After they survive the audition process, Ittō and Daigorō learn that a local daimyo has stepped down as leader of his clan in favour of his young son. However, the boy’s mother
is a concubine, and the true heir has been imprisoned. What’s more, the changeling child is not really a boy, but a girl. If news of this scandal reaches the shogunate, the entire
clan will be dissolved.
The loyal vassals want the Lone Wolf to murder the child imposter, their senile former leader and the concubine so they can avert disaster. At the same time, Ittō must kill a
Buddhist priest that the clan entrusted with their secret, only to learn too late that the priest is really a Yagyū spymaster, and that he is now on his way to reveal the information
to Retsudō himself.
In an inspired bit of cunning, the Lone Wolf assassinates the priest by swimming beneath his boat and using a special tool to cut through it, dropping the spy down into the river
where he meets a bad end.
Taking the message cylinder which contains the clan’s secret, Ittō flees for his life with the Yagyū in close pursuit. He barely makes it to the domain of the imposter lord, but
succeeds in both delivering the cylinder and killing all three of his targets. If his willingness to murder a child seems shocking, it’s worth pointing out that the young imposter
also instructs the clan’s samurai to kill Ittō and his son a split second after playing happily with Daigorō – and besides, what else would you expect from a couple of selfproclaimed demons?
The last of the ‘70s films based on the manga was ‘White Heaven In Hell’, and it’s fair to say that the series went out with a bang. Retsudō’s failure to bring the Lone Wolf and
Cub to justice is forcing the shogun to consider declaring the pair national outlaws, and to order every daimyo in the land to hunt them down. Such a course of action would
mean that the Yagyū would have to admit defeat, and lose the status that they have earned through years of treachery and subterfuge. Retsudō begs for one more chance – he
will send his last surviving child, Kaori, after the Lone Wolf (Ittō and Daigorō having already slain all of her siblings).
With the future of the clan at stake, Retsudō sacrifices some of his best men in training Kaori, but it doesn’t make any difference – when she duels the Lone Wolf with a trick
which involves juggling several knives at once, he quickly deduces her ploy, and succeeds in dispatching her to join her dead brothers.
Desperate, Retsudō turns to Hyouei, an illegitimate son whom he sired with a concubine and then abandoned, sending him to live with a fearsome mountain tribe of black
magicians called the Tsuchigumo - literally, the ‘Spider of the Ground’ clan (loosely based on
real-life ferocious, cave-dwelling natives that were said to exist in certain southern regions of
Japan).
But Hyouei damns his father for abandoning him, and refuses to help. While a distraught
Retsudō returns to Edo to try and think of another way to destroy his clan’s nemesis, Hyouei
decides to kill the Lone Wolf and his Cub in order to win favour with the shogunate, and to
lead his adoptive clan out of the mountains to take over from the Yagyū.
This leads to a genuinely creepy initiation scene where the tribe dig up buried coffins
containing three warriors and send the newly graduated killers to torment Ittō and Daigorō.
The Lone Wolf can sense that he is being followed, but the only signs of this are the succession
of people who are slaughtered immediately after approaching the pair – a pedlar selling sweet
treats, a young woman who pauses to coo over Daigorō and more.
As Ittō and Daigorō stop at an inn for the night, a grubby hand emerges from the soil to clutch
at the ankle of the innkeeper’s daughter, and it is revealed that the three wild-looking killers
can burrow through the earth like huge worms! The Lone Wolf quickly realises this after the
entire inn is silently butchered, and a doom-laden voice whispers through the night to tell him
that anyone who dares attempt to speak or approach either father or son will suffer immediate
death. The voice warns that Ittō and Daigorō are to become outcasts, forever forced to shun
the company of civilised folk, and as the pair head off towards the mountains, it appears that
the tribe’s supernatural powers may have defeated them after all.
But of course, it is all a ruse on the part of the Lone Wolf – travelling high above the snowline, Ittō and Daigorō build an igloo, and settle down to wait for their persecutors
to make their move. They know that the three killers will be unable to remain buried beneath the freezing snow, and will be forced to stage a more conventional assault, during
which Ittō butchers them.
Following this failure, Hyouei attempts to deceive the Lone Wolf by imitating a potential customer, but he gives himself away when he dares to sit down on his sword – a true
samurai would never do this, Ittō explains, because they consider their sword to be a part of their soul. His ruse uncovered, Hyouei resorts to a frontal assault which sees the
Lone Wolf trapped in the mud of a fog-shrouded plain of reeds. Goading Hyouei into accepting a duel, he is able to finally escape the swords of the Tsuchigumo, and again
heads up high above the snowline.
Retsudō is waiting for him – he has gathered together the 200 remaining members of his clan, and has abandoned the plotting and scheming of the earlier films in favour of allout war.
What follows is a fast and furious battle to the death as Ittō and Daigorō use everything in their arsenal of murder to wreak vengeance upon the Yagyū, and the snow runs red
with spilled blood as the pair decimate what is left of the clan. Realising that all is lost, a loyal samurai forces Retsudō to escape on a sledge, and Ittō and Daigorō can only watch
as their nemesis gets away yet again, vowing that one day, Retsudō’s neck will fall beneath the sword of the Lone Wolf...
...except there never was a next time. The original ‘70s series of films ended here, but had the saga continued, the climactic battle between Ittō and Retsudō would have taken
place outside the walls of Edo, and a huge crowd would have gathered to witness the legendary combat – peasant and samurai alike, all watching as the fabled Lone Wolf battles
on with a broken sword, even appearing to get the upper hand at least twice before finally succumbing to his many, many wounds.
It would also have featured a pivotal scene from the manga where, sensing the end fast approaching, Ittō delivers a long, impassioned speech to Daigorō – one that the boy
remembers as he finishes the job that his father started. As the youth kills Retsudō and brings the story to an end, the watching crowd are reduced to tears... truly a case of both
living and dying by the sword.
“I don’t remember most of this myself. I only remember the Shogun’s ninja, hunting us
wherever we go, and the bodies falling. And the blood...”
Goseki Kojima died in 2000, but in recent years that hasn’t stopped Koike from
writing an official sequel to his most famous creation, this time focusing on the
adventures of the now grown cub. With Hideki Mori stepping in to provide the art,
it seems likely that the rivers of blood will flow for some time yet...
Liam Ronan
Screen Damage
An interview with...
Heirophant
Recently signed to Bridge Nine records are the amazing Hierophant from Italy. Amazing is
a bit of a double edged sword here, as, yes, musically they are violently spreading the darkest
kind of hardcore imaginable which we can all thoroughly enjoy, but on the other hand they
go to lengths to painfully remind us we’re just a plague out to destroy our own kind and the
planet. That, in itself, is not really new in hardcore and metal, but the way Hierophant has
penned things on their B9 debut ‘Great Mother: Holy Monster’ is different. Can the mother
ever get a grip on the eight unruly sons as portrayed on the album or will they - and that also
means us humans - be the death of her? No answer on that department from guitar player
Lorenzo Gulminelli, but is it food for thought nonetheless.
MM: One could go on about the influences you
have for the style you play, but what’s really striking
is the overwhelming anger. Can you in short explain
what it is that really infuriates you?
LG: Unfortunately we live in a society full of
ignorance. We live in a society where nothing is
working as theoretically should. At least this is what
we personally feel. In addition to that, last year has
been for us, as persons, a difficult year. In short, these
are the reasons of our anger.
with our roots but honestly I don’t think we can talk of
a desired influence but an indirect influence.
MM: Is the current political stalemate in your
country also something you would sing about, or,
do you prefer to look inwards to the rotten core of
mankind?
LG: From the first album we tried, through our
themes, to dig and criticize both negatives and
positives sides of human psyche, in all its forms.
MM: Being from Italy, how much does your own
background have an influence on the music? Are
there specific Italian things showing their faces?
MM: Do you think as humans, we can ever change
for the better? We’ve been digging our graves for
several thousands of years, but are still around?
LG: Being Italians, we are inevitably forced to deal
LG: Unfortunately I don’t think there is any way to
improve things. As you say, our graves are ready to be
filled and I think we’re just waiting the moment that
someone or something will kick our ass from behind
and throw us in there. The Kali Yuga is ending but
there will be no golden age.
MM: About the new album ‘Great Mother; Holy
Monster’, I feel it’s about the struggle between our
planet, ‘mother’, and we, the self proclaimed rulers,
backed by religions that always seem to emphasize
the supremacy of man over nature.
LG: I believe that through globalization, incorrect
manipulation and even if necessary technology, man,
as an individual, began to believe himself more and
more as a god when actually humanity, earth and
nature are all parts of “god.”
MM: All songs are ‘sons’, are they sons of the mother mentioned
in the title? What can you tell us about these sons? And are they,
when they do have the same mother, also brothers?
LG: Yes. The “mother” mentioned is the same for all of them so yes, we
are talking about “brothers”. Each one of them, as you can get from the
lyrics, feels love/hate for “her”. All this bring us to the conclusion that
the problem is not the “son”, but the approach of the “mother” to him.
MM: Does this also mean that all problems in the world, be they
personal, political, religious or environmental are linked, like
relatives in one family?
LG: Yes, absolutely.
MM: Is the order of songs is important? With ‘Son of the New
Faith’ there seems to be a new direction at hand, but over the
course of the songs you become more and more pessimistic about
what is to come. What can you tell us about that?
LG: Basically every child starts, from his birth, with an original feeling
but then he unveils this false illusion, finding the opposite. The only
solution is to accept that. Nothing else to do.
MM: ‘Son of Four Hands Way’ is interesting as it seems the link in
with the cover. What is that specific song about? Is there also a link
to the four handed God Vishnu?
LG: The meaning of this song is a further critique of religion seen as
an obsession. It can be considered as a mother willing to destroy and
purify at the same time, as the goddess Kali in regards to Hinduism.
MM: I also find the song ‘Son Of The Carcinoma’ interesting.
Is that in someway referring to mankind being a plague? Are we
making this planet ill?
LG: We’re a plague on this planet, we are aware of, and in a way
we enjoy this situation. We are pretending to find a solution even if actually we absolutely don’t care. Someone has a completely and opposite view and it looks like some sort of
revenge.
MM: You’re off touring Europe from mid March, but I was wondering whether it is also going to be easier for to tour the States, now that you are on an American label?
LG: Being on an American label will probably give us the opportunity to touring overseas. Getting there I guess is not so easy as it seems but our label and us are working on it.
MM: How did that cooperation come about in the first place? It cannot be easy finding a good label these days, with the current state of the music business.
LG: Finding a good label at the moment it’s definitely not easy at all, especially if you are Italian, believe me. By the way, Bridge Nine was on top. We sent demos. They liked us. I
guess that’s it.
MM: What can we expect from Hierophant in the near future? Signing to B9, will probably be a dream come true, but what is next?
LG: We’ll be trying to tour as much as possible to promote our new record. What’s next? another new record on Bridge Nine for sure. M
M
THE GREEN HORNET
A Different Type of Super Hero
The first character study in a series of chapter play super heroes
There’s an old adage that goes something like this: Some men accomplish great things, while others squander their existence. And still
there are those who must follow a different path…a path that twists and turns its way towards a unique kind of truth –- Author Unknown.
We all have dreams, desires and things that we hope to accomplish during our lifetime. For some, it means a peaceful existence
with a wife and family and that storied white, picket fence surrounding a beautiful garden. For other individuals, it means a more
adventuresome life style, one filled with danger and excitement; something with a bit more of a challenge involved. Still, there are
other individuals who fit in-between the two extremes and are happy just living life.
On a personal note, I have been a rather oddball of sorts. Neither wanting the picket fences or the daredevil life style, yet I desire
more from life than just a mundane existence. So, where does that leave me? I guess you could call me a dreamer. I love the obscure
eccentricities of life; the things that others consider weird. I love to watch horror films and those movies that most people think of as
too bizarre for ordinary tastes. Above all, I love movie serials or chapter plays. I guess you could say that I live vicariously through the
make believe world of film and its larger than life characters.
Many readers of this fine magazine may not realize that long before the modern day versions of Bat Man, Superman, and the countless
other super heroes, many appeared on the silver screen as weekly chapter plays at the local movie theaters. They were also referred to
as cliffhangers, because the hero/heroine would be left in a dangerous situation only to be resolved in the next episode.
Well, to make a long story short, I’ve decided to write a quarterly column featuring a specific superhero as my subject, to discuss their
personalities as to what motivates them to do what they do for both themselves as well as for humanity. I’ve decided to begin my study
with the Green Hornet. Don’t ask me why I chose him to start this ambitious undertaking. I guess it’s because I’ve just completed
watching him recently, so why not start there.
It might be interesting to note that he started out as a weekly radio broadcast during the late 30’s on station WXYZ out of Detroit.
Because of his popularity, Universal Studios bought the rights to his character and made two movie serials: The Green Hornet in 1939
and The Green Hornet Strikes Again in 1940. The first entry starred Gordon Jones in the title role and Warren Hull in the second, but
that’s really not the importance of this article.
My goal, if possible, is to explore the actual psyche of the character himself, and to give the reader a glimpse as to what makes him
and all of the other super heroes “tick” inside. Oh, by the way, The Green Hornet had a very short run as a television show during the
mid 60’s, which had nothing to do with the movie serial. It was also made into a movie in 2010, which, in my opinion, was absolutely
terrible. What I am referring to in this article are the two chapter plays made in the late 30’s and not the above-mentioned bombs.
The actual story of The Green Hornet involves Brit Reid; the Editor-in-Chief of a famous newspaper called The
Sentinel. As an editor, Brit is alarmed by the many criminal activities in his city and feels somewhat helpless to do
anything other than to report the stories as a matter of serving public interest. But wait just a minute. Suppose he
could use his newspaper to sway public opinion. What better way could there be than to enter the criminal element
at its lowest form as a masked man and become involved in nefarious activities, and then to report first hand on
the events. Perhaps he could even prevent such unlawful practices in the process. The downside to this plan is
that the police would consider him just another criminal, and the criminals themselves would consider him to be
competition. What a dilemma.
Armed with only a gas-powered gun that temporarily immobilizes his victims and his faithful manservant Kato, The
Green Hornet manages to work both sides of the law and uses his newspaper to influence public opinion. A very
clever ploy.
From my prospective, The Green Hornet is a perfect example of how the power of the press, even today, has a definite
influence on public opinion. But I think the thing that intrigues me the most about Brit Reid is his cleverness as both
a newspaper reporter and editor of a large newspaper, to uncover criminal activities and expose the facts by way of
the written word, but most of all, to let justice play itself out. His alter ego as The Green Hornet is merely a way to
shelter his identity from the world. Since he is seen at the various crime scenes, he is a key suspect and is wanted
by the police. On the other side of the law, criminals view him as someone who threatens as competition. Neither
is the case. He is an ordinary citizen with no superpowers, only a desire to seek out the truth and use his disguise
to intimidate lawbreakers. Along with his trusted bodyguard Kato, the two men do their best to maintain justice in
their own inimitable fashion.
He is resourceful, intelligent, non-violent (even though he uses his gas-powered gun to temporarily immobilize his
victims) and above all he is honest. The two serials are reminiscent of an early film noir adventure and this factor
adds a unique ambience to the production. Unlike Republic and Columbia Studios, Universal’s making of The Green
Hornet is a perfect blend of action, but most of all good storytelling.
Reid’s character is a well thought out creation of both bravado and subtleness, and he makes a very interesting
character study. I find the dichotomy rather refreshing. Since he has no super powers, he must manage by his wits.
In short, he is a man’s man and nothing more. Interestingly, his alter ego is never revealed to anyone other than Kato,
and to the rest of the world, The Green Hornet remains a phantom. As for Brit Reid, he continues his job as Editor-inChief of The Sentinel.
I feel that both of The Green Hornet serials are extremely well made and, therefore, are a pleasure to watch. I also
feel that because they appear to be more character driven in content, they targeted a bit more of a mature audience
than most chapter plays.
Doug Crill
An interview with...
With its bluesy element of early Whitesnake, contemporary vibe delivered by some highly talented
musicians, the reaction to Snake Charmer’s self titled CD has been overwhelming, coming in at
number one in Amazon’s pre-sale charts for hard rock/metal. That’s not a bad start at all. But then
again if you look at the pedigree of musicians drawn together here you really shouldn’t be surprised
with the output coming from the Snakecharmer debut CD. Allow me to introduce Micky Moody
(Whitesnake) on guitars, Neil Murray (Whitesnake, Vow Wow) on bass, Laurie Wisefield (Wishbone Ash) on guitars, Adam Wakeman, yes Rick’s son!!! (Ozzy Osbourne, The Strawbs) on keyboards, Harry James (Thunder, Magnum) on drums, and Chris Ousey (Heartland) on vocals. Where
do you start with a line up like that...? Well luckily the charming Maria at Qedg management created
time for all six members to give me an insight into the birth and working ethics of Snakecharmer...
Snake Charmer
Interview by
Mark Freebase
MM: Chris - you have delivered an amazingly strong performance for ‘Snakecharmer’.
How did you set about relaxing around the guys? What was your initial reaction to the
band?...
Chris: Actually it’s been a pretty smooth ride from day one. The band’s full of strong
characters. I did wonder how it would all come together, especially when writing and
recording. No real worries though. Once we got a couple of tracks under our belts, the
recording sessions took on a momentum all of their own. Everyone’s been around long
enough to know when something’s right or not quite hitting the mark.
MM: Snakecharmer has played 7 gigs so far. What has the reaction been, and what sort
of audiences have you played to?
Chris: The audience reaction has been amazing. Obviously the majority of the folks want
to get off on the classic tracks from Micky and Neil’s past involvement with Whitesnake.
But it’s also been great to experience the positive reactions we’ve had from playing the new
material. All of which hopefully bodes well for the future.
MM: How do you feel your voice and the playing on the CD have added to the
Snakecharmer sound? Is there anything different you would do if you were to re-record
it again?
Chris: I think Snakecharmer already has a strong musical identity. I was surprised how
quickly that came about. From my point of view, I was a little unsure how to approach
singing the classic tracks live. You know the audience has a lot invested in those songs, and
while you want to do them justice, you also have to interpret them in your own way.
In the studio working on our own material, there was obviously a lot more freedom to
express myself. I don’t think I’d want to change much if we had a chance to re-record
anything. It’s hard to know when to stop and say; we’re done. There’ll always be small things
that you would maybe do differently, but overall I’m pretty happy with what we achieved in
a relatively short space of time.
MM: Is there a concept or bank of ideas/thoughts regarding the lyrical topics for the
songs? How do you get your inspirations?
Chris: Yeah, I tend to be scribbling notes to myself day to day. They just act as jumping
off points. I’ll hear a piece of music and think; I have an idea for a subject that I know will
work with the mood of those chords, or that riff. It may be a verse or just a phrase tucked
improve things. As you say, our graves are ready to be
filled and I think we’re just waiting the moment that
someone or something will kick our ass from behind
and throw us in there. The Kali Yuga is ending but
there will be no golden age.
MM: About the new album ‘Great Mother; Holy
Monster’, I feel it’s about the struggle between our
planet, ‘mother’, and we, the self proclaimed rulers,
backed by religions that always seem to emphasize
the supremacy of man over nature.
LG: I believe that through globalization, incorrect
manipulation and even if necessary technology, man,
as an individual, began to believe himself more and
more as a god when actually humanity, earth and
nature are all parts of “god.”
away somewhere waiting for its moment! I can get inspired by just
about anything. I think we also take in a lot of what’s going on around
us subconsciously. It maybe just takes a piece of music to unlock those
thoughts for me.
MM: Does the direction/style of this band make you consider your
playing in any way? Do you look at the songs any different to Ozzy
or Sabbath or Strawbs? I mean, do you have to change your playing
techniques at all or look at ‘styles’?
MM: What’s the standout track for the CD and why?
Adam: of the biggest incentives to get involved with Snakecharmer, was
the amount of Hammond Organ I get to play- which I love. This band
gives me the opportunity to concentrate on my Hammond Playing which
in other bands I play with, is perhaps only featured in 1 or 2 tracks. With
Snakecharmer I play it 90% of the time. It’s a different technique to
keyboard playing or piano playing.
Chris: I like different tracks on the record for different reasons. We just
filmed a promo video for a song called ‘Accident Prone ‘which was a lot of
fun. It’s an easy track to like. A pretty catchy and instant tune that kind of
sums up the bands musical character well I think.
There are also tracks on the album that you have to work a little harder for,
and I like that too.
MM: As the youngest member of Snakecharmer how did Adam settle
in with the ‘older rockers’ of Snakecharmer?
Adam; It was an opportunity for me to be in a band and play a style of
music that I loved growing up, so it was an easy decision for me.
MM: You and Harry have incredibly busy schedules, how will
Snakecharmer be prioritised amongst all this?
Adam: It’s always difficult when you are juggling many other projects and
bands. Hopefully there won’t be too many situations where I will be faced
with that problem..! The benefits of playing with the band outweigh the
potential clashing schedule issues I may or may not have in the future.
MM: Did your Dad warn you about playing in a band with older
members? Being the youngest of the group how do you fit in?
Adam: I’ve always played in bands that had older members than me! Ever
since playing in pub bands at 15 or 16. I found that you can get much more
experience when playing with older musicians as a youngster! I recorded 8
albums with my father and toured for 10 years with him, and spent the last
9 years with Ozzy so I’m used to the older ‘Rock Royalty’ !
MM: How prominently will your presence and sound be felt on hearing
the Snakecharmer CD?
Adam: I have a list on my iphone of who takes milk and sugar in their
coffee which makes my presence invaluable to this outfit in the studio.
Hopefully that will also be the case for the album....
MM: Neil, as a main driving force for Snakecharmer I was wondering if
it was a thought burning away for sometime in the back of your mind,
or just an idea just waiting to happen?
Neil: Micky and myself have played together since Whitesnake in
Company of Snakes and M3 Classic Whitesnake between 199i f9 and
2006, mainly playing classic Whitesnake songs from the late ‘70s to the
mid-80s, so we know that there is an audience who want to hear those
songs played in the original, blues-rock style of Whitesnake. After a break
of 3 years, we decided to get another band together to play those songs,
so we found the other Snakecharmer members, although Adam didn’t
join until a year later. After we had done some live gigs and found our
management, it became obvious that with the talent in the band, we could
write and record an album of new material, still in the style of melodic,
bluesy-influenced rock that we were playing live. Now we will be able to
perform the best of the old material and some of the new songs live, and I
think they will go together perfectly.
MM: So, as part of the rhythm section, how does
working with Harry compare to some of the ‘greats’
you’ve played alongside in the past? Have you
jammed with him before?
have you played on? How does the Snakecharmer
album compare to other releases? What have
you noticed regarding your playing; and studio
performances?
Neil: Harry is a very solid, driving drummer, which
makes it easy for me, and he is very consistent in his
playing. There is a bit more space for my bass lines
compared to some other drummers I’ve worked with,
and he is a great guy to be around. I had never played
with him before this band, but I knew that he would
be the right man for the job.
Neil: I guess it is over 85 albums, but on some of those
I only play on one or two songs. The Snakecharmer
album was very much a group effort, produced by
ourselves, so we had a lot of freedom in what we
played, which sometimes hasn’t been the case on other
projects. However, I don’t think it is self-indulgent;
we played what was right for each song. I’ve done too
many albums where I was strictly a backing musician,
or where the songs didn’t allow me to be creative with
the bass parts, and there aren’t many albums I’ve done
that I would listen to for pleasure, but this record is a
lot more satisfying than most, playing-wise and songwise. Compared to 30 years ago, I am less concerned
with playing fast or being up-front with the bass lines;
perhaps my playing is a bit more mature now, though I
still try to play interesting parts, as long as they suit the
song. Over the years I have learned a lot about getting
bass sounds in the studio, and that experience helps me
to work fast, though the ideal situation is to work with
a great engineer or producer who will get the best out
of me.
MM: From conception to CD release, was this
the sort of timescale that you had in mind, or have
things moved at a different pace?
Neil: Although it will be about 18 months between
starting writing songs for this album and it being
released, all of the members have been busy with other
work at the same time, and in fact the recording only
took a month in total, though it was spread out over
a year. As it was our first album together, through the
recording we discovered the way the band works best,
and the next album will perhaps be done more quickly.
MM: Tell me about your 2 favourite songs on the
new CD. What makes them special?
Neil: I like ‘To The Rescue’ because it’s a great shuffle
groove, but the chords are different from the usual
blues sequence and ‘A Little Rock & Roll’ goes through
lots of different moods, from a funky opening to a big
Zeppelin-type anthem by the end. Both songs have
great guitar-playing by Micky and Laurie, and fantastic
vocals from Chris.
MM: Over your musical career, how many records
MM: Laurie, from Wishbone Ash to Snakecharmer,
what can the ‘diehards’ expect from your playing?
Laurie: Well it’s the same person playing on
Snakecharmer’s album than on those early Wishbone
Ash albums, but of course a lot of water has gone under
the bridge in twenty five years or so? I’d like to think
I have evolved as a musician in that time & taken a lot
from other experiences playing in different situations
with lots of other people.
Musically with Snakecharmer we set out to make a
fairly straight forward bluesy rock album which we
could all come together on, so it’s not something I
would necessarily compare to any particular Wishbone
Ash album.
MM: How have guitar parts been split between
yourself and Micky, what’s the set up between the
playing (on CD) and live performances?
Laurie: Equipment wise for recording we kept it fairly
simple using a combination of Marshall, Orange, &
Cornford amps.I have an old Marshall 20w, and 18w
reissue, an Orange Duel Terror which is a great little
amp, and a few Cornfords got an airing also. Micky
also used a Duel Terror, some Marshalls & a Soldano
here & there. For live shows We either use Marshall or
Cornford as that’s very much the kind of sound for this
kind of classic rock.
As far as the guitar parts on the album they are fairly
equally split without us having to talk about it too
much. We both respect each other’s playing, & all
egos were left at the door. We just wanted to make the
best product that we could in the amount of time that
we had, utilising each other’s individual talents the
best that we could. On all the tracks I think we both
played a rhythm part & on some of the tracks we both
solo & on some of the tracks whoever suited the part
best or came up with the initial song idea would take
the initiative, we of course tried to give Adam some
freedom to solo on the keys also.
MM: One thing that springs to mind when talking
to each band member is the drive to get the best
out of each other, the positive vibe for creative
inspiration between ranks and the goal to push each
members abilities and hidden strengths. In turn I
presume that also made it easier to bring forth
ideas to the table? How have you found the creative
process within Snakecharmer and how much
freedom do you have as a band member?
Laurie: We all have as much creative input as each
other but of course if the majority don’t think an idea
is right for the band then it may not make it onto the
album.
Most of the song ideas were started by one of us at
home in a demo skeleton form & then sent
on to the other members & hopefully Chris would
be inspired enough by an idea to write a lyric for it, or
in a couple of instances I had an idea for a chorus as
well, on “ To The Rescue” & “My Angel” which Chris
jumped on and expanded. There were some ideas that
didn’t get completed that I think were also very strong,
but maybe they will make the next recording, who
knows?
MM:What would you like to see Snakecharmer
achieve in 2013?
Laurie: Well of course I hope the album is well received
& that it allows us to take it on the road where I think
we will shine, and have some fun too. There are not
that many bands out there that I am aware of at the
moment that are playing good old guitar based classic
rock with good songs, melody with a lot of attitude &
integrity that can really do it live.
MM: How did the title come about for the CD?
Laurie: We had a list of titles but for a first
introductory album everyone agreed that the self
titled, nomessing, let’s get the name of the band across
idea was the best, so Snakecharmer it is.
MM: Miky, how did the formation of Snakecharmer
come about? How was the spark ignited?
Miky: I met up with Neil a couple of years ago and we
spoke about playing some shows together - as you do!
We had no clear direction as to what kind of material
we’d be playing, though early Whitesnake favourites
seemed to be a good starting point.
MM: As far as enlisting members, how was this
handled, was it a hard choice and did you have
specific names for each position?
Mikey: Neil suggested Laurie Wisefield (who works
alongside him in We Will Rock You) and Harry
James. I was familiar with both guys and welcomed his
choices wholeheartedly! It was a conscious decision to
find a front man who we hadn’t worked with before,
and Chris Ousey came highly-recommended. He
turned out to be a good choice! We started out as Monsters of British Rock (a name suggested by an agent we knew) and performed a mixture of early Whitesnake,
Thunder, Heartland and a Laurie Wisefield original. Neil’s friend Michael Bramwell played keyboards. We played a handful of shows before the band came to the attention
of manager Martin Darvill who suggested that we record an album of original material under his guidance. Adam Wakeman was suggested as the new keyboard player and
Snakecharmer was born.
MM: Snakecharmer have just released a new ‘self titled’ CD via the Frontiers label, what can you tell us about its conception and the actual songs?
Mikey: Due to people’s commitments, the album took almost a year to record. The new material was brought into the studio in basic format before backing tracks were
recorded. Chris then wrote the lyrics and worked on the melodies. All the material is new and after many suggestions for a title, we decided to go for the eponymous option.
MM: Now the CD has been released, how far ahead are you planning?
Miky: Well we will have a launch for the CD and that includes a London gig in Islington. This will be a primary date and were focusing on delivering here... Dates for 2013
are now being set up and the ball is in motion for Snakecharmer to tour this album. Especially after such an amazing reaction to the release.
MM: Who is doing the writing in Snakechamer? Are the songs constructed from individual ideas or written together as a band in the rehearsal time?
Miky: All the songs were constructed from original ideas and all feature Chris’s lyrics. There are no covers. Some are started by individuals, but on the whole it’s group
written. This is a band and we feed off each other.
MM: Harry, with your Thunder and Magmum commitments, how can you find time t o fit in Snakecharmer?
Harry; Well it’s a good job I’m well organised and together enough to be able to be a part of this great band…..it’s good to be busy though.
MM: What’s the ‘groove’ of the band. How does it compare to say Magnum or Thunder, or even Terraplane, yes I’m old enough to remember them!!!
Harry: Well it’s a solid and driving band that likes to “groove” as you put it. I like to think that I contribute to that “groove” which is made easier when playing great songs
with some great musicians. I’m lucky and fortunate enough to be playing with some fantastic musicians in this band which is the case with Thunder and Magnum…….and
even Terraplane!!
MM: Was it an easy choice to become involved with the likes of Neil Murray and Micky Moody? Did the Whitesnake fame hinder or help?
Harry: Very easy. I had always wanted to work on something with Neil and Micky. Just bloody glad I’ve had this chance really. I was and still am a fan of Whitesnake but
the songs that Micky and Neil were involved in at the end of the ‘70’s and early ‘80’s, were a big influence on my musical development. Real classic tracks that I have found
inspirational to listen to and play recently.
MM: How did you approach playing in this group, has it made you think about your style or technique at all?
Harry: I grew up being influenced by the likes of Ian Paice and Cozy Powell. I suppose that would have helped me settle in nicely to the Snakecharmer way of approaching
each track and way of thinking……
MM: What should people be expecting from the release of the new CD and Snakecharmer as a whole?
Harry: A classy, classic bluesy/rock influenced mixture of songs. The feedback generally so far has been incredibly positive. You won’t be disappointed !! M
M
An interview with...
Mosh Tuneage
In the ever changing music business so many labels are trying to get a piece of the
ever shrinking pie, signing the newest and youngest bands trying to keep up. So many
gems get crushed in all this turmoil. It has always been that way unfortunately. The
new Bosstuneage imprint, aptly called Mosh Tuneage, has taken a step back and been
looking into the past for interesting metal albums that just need to be reissued. Not
because they will sell a lot or fit in with the current trends but rather because they are
a landmark in time and immensely cool. The old school way of doing things is really
appealing to the old geezers here at Mass Movement, so we caught up with Aston
Stephens about his new enterprise. Interview by Martijn Welzen
MM: At what point did you think it was time to start Boss
Tuneage’s metal imprint ‘Mosh Tuneage’? Did you come
up with the idea and then go looking for releases, or did
Desecrator get thrown in your lap and you needed to put
that record out again?
of metal ‘allowed’ for Mosh Tuneage? How does that
work with the rights of any particular record, or the
master tapes. Do you get them from the band directly?
Aston: It was pretty much the latter in all honesty – I wanted
to reissue the Lawnmower Deth and Metal Duck split for
ages and finally managed to track down Chris Mohin, who
ran RKT Records and from the success of the Lawnmower
Deth and Metal Duck releases we decided to also license and
reissue Metal Messiah and Desecrator too from the RKT
back catalogue.. in hindsight the Lawnmower Deth and
Metal Duck reissues should also have been on Mosh Tuneage
rather than Boss Tuneage, but the idea really only came
about after LD and MD did so well...
Aston: Well, it’s important to me that it is something I like
and see the merits of... I guess for Mosh Tuneage the plan
really is to do for the metal/thrash scene what Boss Tuneage
has done for the hardcore punk scene, by documenting the
classic late 80s UK bands but also new bands I like as well.
We only ever license releases from the people who own the
sound recordings (sometimes this is the bands, sometimes
this is the label – but in instances where the label owns the
recording we try and get the bands involved in the reissues)
and some stuff comes from mastertapes, other times its
remastered from unplayed source vinyl, sometimes even
cassette – it depends what is still there...
MM: What bands are your looking for? Are all sorts
MM: What makes bands like Desecrator and Metal
Messiah too important to forget? Do Mosh Tuneage
bands always have to match your personal taste or would
you release a ‘legendary’ album that is not entirely to your
liking?
Aston: Desecrator and Metal Messiah both came from
the availability from RKT. Metal Messiah I knew well, as
they appeared on the first thing I ever did – a UK thrash
compilation tape back in 1988 – before I set up Boss
Tuneage in 1990 – whilst Desecrator although I was not as
familiar with, having known the name from back then but
never hearing the album at the time - I knew their guitarist
Steve through him being in Consumed later on and also
through his T shirt printing company who I had used in
the past – so as I could track both bands down, I was a lot
happier in releasing these with both bands’ approval as well,
and both helped me with additional material and the bonus
demo tracks! The next obvious place for the reissue side of
Mosh Tuneage to go is with the other UK thrash label of
the late 80s/early 90s, so I have tracked down and done a
deal with Daryl Turner who ran CMFT Records to reissue
XYSTER, PENDEMIA, MORAL CRUSADE and the
unreleased SNYPER album from 1990 later this year – all
again are bands I am familiar with and a couple of whom
appeared on that same comp tape I did back in 1988!
MM: Have you also had any feedback from the bands so
far? Are there currently any bands you are really really
interested in?
Aston: Well all members of Lawnmower Deth, Metal Duck,
Metal Messiah and Desecrator that I am in touch with have
all been really chuffed with how the reissues came out - at
present I am trying to hunt down members of PENDEMIA
and XYSTER to get them involved in the upcoming reissues
so I am hoping both will be interested, but if not Daryl as
the old owner of CMFT will do liner notes instead, but we
always try to get bands involved in all our reissues, wherever
possible...VIRUS have also contacted us about potential
reissues too but I am not sure now if that will happen or not,
as we reached a stalemate on negotiations about licensing
fees etc! I think after the 4 CMFT reissues I will then think
about what to do next – although I would love to make the
OBLITERATION stuff available again, and also the band
PURGATORY who did a couple of amazing demos back in
1988/1989 but never officially released anything ...if I can
track them down, which is the hardest part!
MM: How important is the vibe of the music? Desecrator
has a typically underground metal feeling, without
any computerised additions. Are you after the original
production or would you allow records to be remastered?
Aston: We try to always keep the records as close to the
original as possible – sometimes a bit of tinkering can make a
record sound 1000 times better if the production or original
cut to vinyl was not great, but we always try and keep things
as original as possible..
MM: As Boss Tuneage has always been a punk label, I am
curious to what level the way your other label’s work has
reflected on Mosh Tuneage? Are a certain message in the
lyrics or the DIY attitude to some level important?
Aston: Up until now the bands featured all have had
members who have been involved with the punk scene as
well – Metal Messiah had members from Varukers, Sick On
the Bus etc, and the Ford brothers from Desecrator later
went on to do Consumed on Fat Wreck, so I guess a punk
attitude is still running through the records – that even
stretches as far as the new bands we have helped out on Mosh
Tuneage so far – REIGN OF FURY features ex members
of SECTION 13, WHIPPERSNAPPA etc and SUICIDE
WATCH is ex DECADENCE WITHIN/STAMPIN’
GROUND! But for me that punk ethic/ DIY spirit is
important and we wouldn’t look to do bands who were not
in tune with that attitude...
involved with merch at this point but that’s not to say we won’t in the future..
MM: The focus is also on British bands. Is that by design
or would you take other European or American bands if
given the opportunity?
MM: What’s next for the label? Can you already mention names of upcoming releases?
Aston: It’s never the intention for Mosh Tuneage or Boss
Tuneage to be solely UK bands. I’d certainly love to do bands
from all over if the opportunity arises! It is just that the UK
scene of that era is what I know best, and the easiest to track
down the bands/labels, so that’s where we naturally start off..
MM: In metal, vinyl still is a big thing, do you plan to
take advantage of this market, or have you chosen CD,
and downloads, to keep the accessibility wide?
Aston: Our reissues are a very niche market, so a much as I
love vinyl personally, it is very hard for us to do both CD and
vinyl formats for each release – for our reissues, the fact we
do lots of bonus tracks where possible makes it more friendly
for CD format and the plain economical truth is the releases
we do on both CD and vinyl we always sell more on CD and
vinyl is hard to sell.. so that’s why we chose CDs – although I
must admit with some of these thrash titles it would be great
to do limited edition vinyl picture discs of them if there was
a demand...
MM: Are you planning merchandise, reunion shows,
or tours focussing on these particular releases? I am
interested in this as promoting bands who don’t play is
often very difficult.
Aston: Varies from band to band really.. Metal Messiah,
Lawnmower Deth both play shows occasionally, but
someone like Desecrator would never reform I think...
promoting reissues is always easier in a lot of ways than
promoting a brand new album or release, because people
know of the old release before you start. We don’t get
Aston: As I mentioned above we have done a deal with CMFT so will be releasing over the next
few months reissues from the CMFT label archive, including XYSTER, PENDEMIA, MORAL
CRUSADE and the unreleased SNYPER album from 1990. On top of that, new band wise on Mosh
Tuneage we helped out on REIGN OF FURY’s classic “World Detonation” album, and this month we
are helping co-release the debut album by SEA BASTARD (monolithic doom metal from Brighton)
and also releasing SUICIDE WATCH’s “Figure Head Of Pain” album with a bunch of bonus tracks
on CD for the first time.. on top of this, we also have a busy time with Boss Tuneage too, with reissues
planned by BLOCKO and INDIAN DREAM in the next few months, plus new releases by JADED
EYES, SLAVES, VIOLENT ARREST, and a brand new single and album by HDQ as well!
M
M
moshtuneage.
bigcartel.
com/
Fans of classic hard rock NEED to check
out the new release from German band
Voodoo Circle. Poised to release their
3rd album ‘More Than One Way Home’
I was incredibly pleased to get the
chance to catch up with guitarist Alex
Beyrodt and find out what made them
tick; and how they managed to create
such a storming diamond that could be
the contender for best rock release of
2013.
Interview by Mark Freebase.
An interview with...
Voodoo
Circle
MM: So Alex what inspirations did you draw from to create ‘More Than One Way
Home’?
AB: Well… it’s pretty basic… that I would sit down and start writing and composing
what I felt really. I didn’t start off thinking I’m going to compose a song in the direction
of… I just did what felt natural. I grew up with Purple, Rainbow, Whitesnake and
Zeppelin and for me it’s just so easy and effortless to write songs in that direction
actually. I just pick up my guitar and five minutes later I just come up with some ideas
that I can work with, it’s really that simple. Every song, every note, every guitar riff is
made by an inspiration in what is happening in your life and what’s going on around you.
Many ideas just come from jamming and improvising.
MM: So are you constantly picking up the guitar and strumming, playing and
getting ideas?
AB: Yes, as much as I can. As any guitar player in the world does we’re always sitting
around and fiddling on the couch whilst we watch TV and jamming with the guitar,
strumming and generating tunes and every time I come up with a riff I record it on my
i-phone and I listen back to it and decide if I’m going to work on it. You know I have
over 200 riffs on my memory stick right now!… and I already have six new songs for the
next Voodoo Circle album he says laughing aloud, I constantly have music going around
in my head and I’m trying to get it all out before my head explodes. Having said that
I do go through phases where I want a four-week break of no guitar… no phone… no
computer, just me and my girl and that’s it you know?
MM: Being blown away by the sheer brilliance of ‘More Than One Way Home’ I was
wanting to find out if the finished product came out the way you had envisioned?
AB: To be honest it turned out even better than I thought it would do. When I started
writing songs and producing demos I already knew it was going to be great because the
feeling and vibe was coming through strongly, I was thinking this is full direction, this is
the right way the right choice; and when I first heard the final mixes I was just thinking
‘oh my god, this is way better than I ever expected’ so right now everybody is really
happy. I also just got information that the album is number 1 position in the Amazon
hard rock charts in Germany, so the pre-sales are really really good, and the reviews have
been amazing so that’s a fantastic reaction on top of the band’s also. We are pleased as we
just go out there and we produce and we write how we feel we want to, so something is
being done correctly!
MM: What is your opinion on the current classic rock market?
confirmed this.
AB: Right now a lot is happening. There is a different feeling regarding classic
rock. Maybe the sudden surge of interest again (that had dwindled over previous
years) is because there is more sound and space, a different vibe to metal, don’t
get me wrong but it lets the music breathe and the dynamics come through
more so. It’s a different feeling, not a better feeling, but a different one definitely.
Maybe the time is right for that feeling again and the people are tired of other
music styles and probably a rediscovery of classic rock has come about for many
people? Real music, from real people with real songs.
MM: Some of the song titles seem quite deep for the album, can you tell me
a little about the topical issues addressed here please?
MM: Voodoo Circle have been quoted as having ‘so much English hard rock
in their blood’ would you say that this is a fair statement and good identity?
AB: Yes absolutely, and I’m really proud and happy if someone is saying that.
Not many people after listening to our music would actually think that this is a
German band, we don’t sound German at all, and we don’t have a lot of the usual
German sound. We do have our singer David (Readman) who is from the UK,
but we are basically a German band, yet quite interestingly a lot of people don’t
realise that and being a great fan of so many of the UK bands I am honoured to
carry that quote. It’s an achievement to me.
MM: With ‘More Than One Way Home’ being the album that Whitesnake
should have made, in my opinion Alex, how do you take that statement?
AB: As a complete compliment thank you Mark. A lot of people always throw in
the Whitesnake comparisons and you know David Coverdale can go ahead and
do whatever he likes and I will always love him to death. So thank you for that.
MM: Some of David Readman’s vocals are outstanding and it’s amazing how
he sometimes enters a certain piece and you’re thinking: is he gonna pull it
off ? And then he does, and then some…
AB: Definitely. I actually think David Readman did his best vocal job ever with
this record. He really achieved something here. It fits so well with the overall
guitar sound, and feeling from the songs, it sits well with the whole Voodoo
Circle package. David grew up with Whitesnake and Purple and loves those
bands also and he can really be himself within this band. His vocal delivery
AB: Well David is responsible for the lyrics mostly and he takes the topics from
an array of personal experiences in life. He actually has a free reign on what he
writes within Voodoo Circle, so I’m probably not the best person to ask for this
subject; although I did write my first set of lyrics with the ballad ‘Alissa’ it’s a
song that I dedicated to my new girlfriend, so she is responsible chuckles Alex.
I was in deep shit man, for a couple of years I was in a bad place, I went through
a divorce and lots of private bullshit happened to me and I was really down
to the ground. I was low…. and well, she bought me back a new life and that’s
why I dedicated her that song. Somehow everything went wrong the past two/
three years, I mean my musical career was going better and better and becoming
more successful whilst my private life turned to complete bullshit. But now I’m
a happy guy again because of her. You have to remember I’m the guitarist and
David is the singer and I would never tell a singer what to write, especially an
English singer as it doesn’t make any sense at all.
MM: The version of ‘More Than One Way Home’ I received has twelve
tracks and the Digi-pak version has two extra tracks on it. Why is this?
AB: The Digi-pak version actually has 14 songs and a video. It’s just a little
something extra that the label (AFM records) has put together to make a nice
package for the die-hard fans, a bit of business stuff.
MM: This is Voodoo Circles 3rd release, so how has the band changed since
it’s incarnation in 2009?
AB: Well actually not too much. We replaced the drummer from the first album
to the second album we had to do that as Mel didn’t have time to record or
tour basically. After we toured that first time we grew incredibly as a band, but
we’d always jam out on tours and be creative, that has been a definitive Voodoo
Circle trait. This band does feel like a family now, and we’re all friends, since the
beginning it has pulled us all together which is great. Since the beginning we’ve
really honed in our ideas and style.
MM: So what can the U.K. expect from Voodoo Circle in 2013? Will you be
getting over here to back up the product?
AB: Unfortunately we haven’t had the chance to play in the U.K. yet. We’d
really love to as this kind of music belongs in the U.K. and comes from the U.K.
so I think we’d fit in really well there. My guitar roadie comes from Newcastle
and he’s telling me he plays the record to people he knows and the reaction he’s
getting is great everywhere, so we have to get over and prove that fact, but we still
have to find the promoter who can put us there! We have two major European
tours arranged starting spring and in the summer we play an amazing festival
which boasts a line up of Voodoo Circle, Journey, Whitesnake, Europe and Thin
Lizzy – what an amazing line up. We tried to hop onto the U.K. Whitesnake/
Journey tour but unfortunately it didn’t happen for us, that’s a real shame as that
would have been a real opener for us. If we work hard maybe this time next year,
well, maybe we could be in a great position in the U.K.
M
M
voodoocircle.
de/
It Ruined My Life
I’m not the type to have regrets but looking back it’s clear that certain
occurrences beyond my control shaped me in ways I would never have
chosen. The most significant of these, the one with the longest-lasting legacy,
was the breakup of my family when I was two years old.
Despite my mother remarrying very happily within a year or two and our new
life being secure and peaceful, part of me had already gone missing by then. I
remember wondering about my father, especially in my teens; who he was, what he looked like, if I’d ever see him again.
These concerns – coupled with subsequently meeting my father and spending a few years living and working with him –
sent my personal development into reverse for years.
I wasted a good decade believing that in order to be a man, I needed to behave like my father. After all, who was I if not
him? Every time I did something that was classic ‘Dad’, it backfired. Every single time. Trouble was, he was a brawler, a
con-artist, a drunk and a philanderer. He had many positive traits, too – motivation, enthusiasm, charisma, intelligence
and was a born leader – but only the negative stuff rubbed off on me.
I was in my late twenties before I began to realise that I wasn’t my father; that I wasn’t like him and didn’t need to emulate
him in order to be happy or complete. It was around that time that I actually relaxed for the first time in my life. And then
the genuine work began; rediscovering the real me, gaining new skills, building better foundations and relationships. It
was a good time and followed many years of discomfort.
In a ‘normal’ life, a child should discover their gift at some point in their teens, recognise their maturity and their place in the world and get to work. It’s at that same time that they
should be accepted and celebrated by their family and society for the same reasons. That didn’t happen for me. It’s the nearest thing I have to a regret that such was the case.
Having said that, when I did begin to understand who I was and what I was here to do, I pursued it with total commitment. And the years of feeling incomplete and dislocated
taught me such a lot, not only about myself but about the world around me. I could never have become the person I am now without the – at times excruciating – demands of that
journey. I certainly wouldn’t be the writer I am without the family I came from and what happened to it; without my past.
I’m grateful for all of it.
Joseph D’Lacey
My Life In Books
The ten books that shaped and defined my life? Sounds easy, doesn’t it. To my surprise, I found it anything but easy.
I must admit that I started reading (comprehensively) a bit late in life. I had a burning urge to always be outside, running and
climbing, even though I was pretty introverted. I was, however, always a big fan of stories, no matter what form they presented
themselves in.
I have a lot of catching up to do, but here follows the ten most influential books in my life to date, in the order that I read them:
James Herbert’s Dune: Not exactly horror, but this is where it all started for me. This opened my eyes to new worlds and monsters
and the battle between good and evil.
Bram Stoker’s Dracula: Not sure exactly when or how it started, but I was obsessed with anything Dracula related as a young
boy. The Darkness, the mystery. I found it quite interesting that I could be so obsessed about something, or someone, that was
supposedly evil.
The Bible: Where else would a young man learn about the eternal battle between good and evil. The Bible not only shaped my life,
but sparked my imagination, showing me that things you can’t see can actually exist. I did, later in life, witness an actual possession
and subsequent exorcism. It kinda opens your eyes a bit, knowing that the evil, and therefor the virtuous, really does exist.
Stephen King’s It: What an amazing story. This is the first book that really interested me in writing as a craft, especially horror
writing. I was pretty much hooked on Stephen King after reading It. His characters are just so real. And what kid wouldn’t love to
read about how kids can fight evil (making a difference). I’m actually rereading it right now. Any writer trying to write more indepth characters should read It.
Thomas Harris’s The Silence of the Lambs: Amazing dialogue, suspense, scenery, characters. Amazing book and movie. Very
intense.
Stephen King’s Night Shift: This is where I fell in love with short stories. Most of my favourite King shorts are in this collection.
Might have to read this one again.
John Connolly’s Nocturnes: This has got to be the best short story collection I’ve ever read. Connolly showed me how to break
down the boundaries of imagination – not just to peak or reach out of the box, but to torch it. He hasn’t written another short
story collection since then. Perhaps he feels he has nothing left to prove.
Stephen King’s The Green Mile: Mmmm, Stephen King’s actually appearing on this list a lot more than I first though. Anyway, its’
and amazing story that showed me how to keep readers turning pages. Not really horror, though.
J.R.R Tolkien’s The Lord of the Rings: I’ve always been fascinated with fantasy worlds and faraway places where valiant warriors
fight evil and save the world – who doesn’t. What a book. On a side note, I’m actually living in the city where Tolkien was born. He
lived in Bloemfontein, South Africa, for about three years before his mom moved them all back to Europe.
Stephen King’s Salem’s Lot: I know Stephen King
features a lot, but how can I not include what’s
probably the best vampire book in the world. I
couldn’t put this book down. It’s probably the
book I’ve read the most in my life, and I don’t
really reread books that much. There are just so
many books I still want to read.
Yip, I really could’ve done a top 20 or even 30
here. There are so many more books, books
that have inspired, motivated and guided me in
different directions.
How can I not give a quick shout out to Stephen
King’s On Writing, Richard Matheson’s Hell
House and I am Legend, William Goldman’s
version of The Princess Bride, Gary McMahon’s
Tales of the Weak and the Wounded, Neil
Gaiman’s American Gods, Mary Shelley’s
Frankenstein, Sir Arthur Conan Doyle’s Tales of
the Supernatural, Stephen King’s The Shining,
Clive Barker’s Everville or the collected works
of men like Edgar Allen Poe, Ambrose Bierce,
M.R. James and H.P. Lovecraft? Oh, and Tintin,
Asterix and a whole bunch of other comics.
Who knows which books or writers (old and
new) waits for me with each new book? Be sure
to let me know if there are any books you think
I’d enjoy. Aren’t books wonderful?
Joe Mynhardt
Comeback Kid ruined my life
When I was about 13 years old I decided that it would be absolutely amazing to be in a band. Me and a friend decided on our way home from
school that we should start a super cool rock band like AC/DC. To cut a long story short: we sucked.
A few years later I still found myself searching for the really cool band to play in. Eventually I found some other dudes (2 of those dudes I still
play music with). We covered Metallica and Pantera and wrote some own songs I’m glad we never recorded. To cut a long story short: we
sucked.
Some day I was watching one of these Victory Records DVDs they always threw in their CD cases and saw a Comeback Kid video. My life
changed. From that day on I knew why all my bands before sucked: They weren’t hardcore bands like Comeback Kid.
I was glad that my other friends liked Comeback Kid and hardcore music as much as I did, so we started a new band. Yeah, we started The
Haverbrook Disaster and if I would have known how much time, money and energy this band would cost me… well let’s just put it that way: I
am absolutely broke because we just recorded a new album and if I wouldn’t still live at my parent’s house I would be living on the streets.
So that’s the short story how Comeback Kid ruined my life.
But I love it.
So thanks Comeback Kid for ruining it!
By Andy Villhauer, The Haverbrook Disaster
IT RUINED MY LIFE
So, on the eve of the release of Bad Religion’s new
album, ‘True North’, and via a transatlantic phone
line, I spoke to bassist Jay Bentley (one of the
nicest guys in punk rock, period) about the new
record, life in the band and Bad Religion’s past,
present and future. Here’s what he had to say…
Interview by Tim Mass Movement
An interview with...
MM: The new album True North; what do the album name and title track refer to? Is it about people following their hopes and dreams, or the place to
which they need to travel to feel most comfortable?
JB: Both. I think that it’s basically a direction. Using a compass guide, how I got it when I talked to Graffin about the song is that True North is not north on a
compass, not physical north, but it’s about treading the path that you think is right. True North could be a few degrees off, when it comes to your true north it’s
the direction that you need to be.
MM: The album, like all BR records, combines the melancholic and almost wistful, with an upbeat, direct and almost confrontational feeling So was
there an overall emotional context which helped to shape the record? And if so, how would you describe the emotional input that influenced True
North?
JB. Wow. I can give you parts of the song-writers ideas when they were writing… When we sat down to talk about making this record, one of the things we all
said was let’s just make a record like we know how to make, that’s not overblown and go back to what we know how to do. Brett said that he sort of learned from
the last record that he was writing on an acoustic guitar so as not to wake his baby daughter and that wasn’t any way to write a Bad Religion record. I think for
Greg, he’s made some major moves in his life and he’s been trying to find a place to settle down. I think that when you start to think about the end of the band,
the end of this thing happening and basically moving on with your life, I think that that’s where Greg is right now in his life. So I think he was asking: Did I do
everything that I wanted to do in my life? Did I try everything that I wanted to try and what are the mistakes I’ve made? But we wanted to make it in a way that
everybody could relate to too, so that’s kind of where we were at with this record.
MM: I don’t know if you’ve spoken to Greg about all the songs but there is a line in “The Department of False Hope”
that I wanted to ask you about: Hold your head up high forgotten man, tomorrow’s not for me and you”. It conjures up
an image of inevitability and finality. Who is the forgotten man and why is he forgotten?
JB: I think that with Greg and Brett it was everybody – all of us – everybody. I kind of have to go back to the ironic part,
because when Brett was writing the song we were already in the studio. When Greg was singing it, it sounded like “forgot
and man there’s nothing left for me and you”. So for us it was like, you come here you live you die you’re gone. There is no
everlasting because today doesn’t mean anything. When you’re gone you’re gone.
MM: There is also a sense that it’s also about ageing and losing your sense of optimism, like you’re passing something
on to the next generation
JB: That’s kind of normal for us; it’s a pretty standard Bad Religion thing: “We’re not teenagers any more, this sucks”
MM: I also wanted to ask you about the first song off the album you released “Fuck You”. Is it a song born of built up
frustration that acts as a sort of release or is there something more to it than that?
JB: Here’s the ironic part about our song Fuck You. The song isn’t about us saying fuck you. We don’t say fuck you to
anybody. It’s a literary diagram of how you get to that point; why you would get so frustrated to say that. But people are like
“Yeah fuck you man” but that’s not us at all. It’s just an interesting thing as to why a human being would get so frustrated as
to say that. You should think “Yeah, that was really refreshing!”
MM: Likewise with “Darmah And The Bomb”. The title seems to link natural order and natural law and one is an
inexcapable part of the former, but lyrically it veers away from it completely…
JB: There are two ways of looking at this whole Darma and the Bomb thing. One – terrorists having a dirty bomb, having
it in a suitcase. That’s the genie in the bottle. Two is like India and Pakistan having this almost nuclear abrasion and tension
right now and this is getting out of hand. You or I could think of these people as being driven by religion but they’re not all
like that. I don’t care what your philosophy is but we’re going to end up bombing the shit out of you if you keep fucking with
us...
MM: The whole song-writing and recording process, with you guys spread out all over the country now, how does
it work? Do you set deadlines for yourselves? Do you just go with the flow and get together when you need to get
together?
JB: Every record is different and every record has a different reason how it comes about. With this one Brett did some demos
and we all had these templates to kind of riffle through and get started; I live about an hour from Brett, so Brooks and I got
together to meet up with Brett and work on some songs. We knew we wanted to make the record we just didn’t know how
or when. Then our drummer Brooks had been on tour with Tenacious D
and he had this little tiny window of about 2 weeks where they were taking a
break, so we said that’s when we’re making our record. We got together and
Brett was still writing, so we started recording and writing and it all came
together like this. We’ve done records like this in the past and it’s really good
for us. We have a philosophy that if you work too hard in pre-production
you suck the life out of it and the longer you’re in the studio the worse your
record’s gonna get. So it’s great for us, we can chop into it, record it and get
the fuck out of there and that’s what we wanted to do.
MM: Do you think that the global socio-economic and political situation
has had any influence on the band as musicians and the way you write as a
whole?
JB: I think in the beginning, we were like 15 years old; then with Suffer it was the first time we actually left the country and went on tour and became more aware of the world,
What I’d like to say is this: America’s impact on the globe has had a profound impact on the way we write, but really what it is, is that as we have an opportunity to see more of
the world when we tour and we see the negative influence our country has around the world. It’s not that America is the only bad place, it’s just that it has such a bad influence
on the rest of the world. Other countries may have a similar impact in terms of what they do, but if you look at what is seen, whether it’s a global corporation like Kentucky Fried
Chicken or whatever, or whether it’s a Hollywood movie going bang, bang, bang and shooting everyone up.
MM: How do you think the 15 year old you would have reacted if you’d told him that 16 albums in the band would still be going strong?
JB: I don’t think I would have believed that. At all…
MM: You’ve spent almost your entire adult life in Bad Religion. How do you think the band has changed, and how do you think these changes have been mirrored by
changes in your own life?
JB: The biggest change in the band is that it went from being the creative force of kids and the ultimate outlet; it still is, but it’s like a hobby that’s got out of control. With the
recording and all the touring that we do you can ignore it, but you can’t really ignore it because you end up just having to face up to it in the future. The other change in the
band is with the punk rock lifestyle in general. When we started your aspirations to get big were to play to 30 people in the club down the street, and now it’s part of mainstream
culture, so it’s different, you can see that. And okay it is what it is. I see guys like Frank Carter as being more influential than the more popular “punk rock” bands.
MM: Do you still think of Bad Religion as being a punk rock band?
JB: I do but only because I think of myself as a punk. There is something about the ideology which I learned at 15 which was: question
everything, everyone’s a liar and never trust a hippy and it sort of sunk in and that changed my life. Being in the band with real smart
people and having hour long conversations to speed up van drives across the country has been my education. I dropped out of high
school but I never stopped learning. Hard rock and this band has really been my school so shaped everything about what is my world
view and what I think about everything.
MM: You guys celebrated your 30th anniversary in 2010. To what do you attribute the band’s longevity? And do you ever
envisage a time when there won’t be a Bad Religion?
JB: I don’t have to envision it, I’m sure there will be a time when there is no Bad Religion. As far as longevity I would say that like
other bands we’ve had our ups and downs, we’ve broken up, but when we all started to pull back into the band we all realised that we
enjoyed doing it. It’s not ht emost important thing in the world, nobody puts a lot of pressure on the band to make their life perfect or
happy or anything. It’s basically like playing poker with the guys on Wednesday nights and if you treat it like that you never really have
that overwhelming sense of despair that the band is not what you want it to be. As long as you’re just creating the thing together and you’re having a good time why wouldn’t you
keep doing it?
MM: Do you think there are any preconceptions that still persist about the band. Perhaps people read too much into the band’s name?
JB: Yeah, but surprisingly, less than you think. And even less are those who actually want to have any dialogue with us about the name. We’ve had the odd confrontation where
people say “oh Bad Religion you’re Satanists” we’re not Satanists at all, not at all. Misconceptions about the band have been rampant since the beginning: we’re vegan, from
Washington DC, anything because no-one really knew that much about us We were just going out on tours and doing what we do and I always kept pretty much under the radar.
Generally the majority of the population ignored us and that’s just the way we liked it.
MM: With the new album out do you have a tour organised and when can we expect to see you in
the UK
JB: I’m going to say August. We have a US tour set up, and half of a European tour set up for June
and then we were coming back for August and as we don’t have any UK dates in June it’s definitely in
August.
M
M
www.badreligion.com/
An interview with...
Wartorn
What do raging, metal fuelled crust core and
professional wrestling have in common? A dude
name Bitty, that’s what. I caught up with Bitty to
talk about Wartorn, his career in Pro-Wrestling
and getting car-jacked on tour…
Interview by Tim Mass Movement
MM: Right, as usual, let’s start at the beginning. Bitty, do you want to introduce
yourself and tell all the good folks out in MM land something weird about Eric
Hammers…?
Bitty: “Hi, I’m Bitty. I sing in the band Wartorn. I used to professionally wrestle under
the name Eric Hammers.”
MM: Likewise, can you share a brief history of Wartorn with us and introduce the
other members of the band?
Bitty: “Right now we have three guitarists: Ryan, Toban and Derek. Ela plays bass
and Hart is the drummer. Originally we started out in 2004 as a three-piece and every
couple of years, we’ve gained a member. Since then, we’ve grown to a six-piece band.
We’ve toured with Hellshock, Appalachian Terror Unit, In Defense, Los Dolares,
and Krang, and also did a mini tour with Municipal Waste, just to name a few. We’ve
toured in 13 countries and played with countless other great bands. We have put
out 3LP’s and one split LP with Pyroklast and a bunch of limited 7”s. We’ve worked
with Crimes Against Humanity, Profane Existence and a ton of other labels. We had
a limited edition 7” on Profane Existence called “Domestic Terrorist”. Our newest
record,” Iconic Nightmare”, came out on CD and LP on Southern Lord Records. We
leave on April 25th to go on tour with Raw Power from Italy. That pretty much brings
us up to speed.”
MM: How would you describe Wartorn’s music? I guess the easy approach would
be D-Beat with a crust-core edge, but as I’ve never been someone who does
things the easy way, I reckon there’s more to the bands music, so how do you view
Wartorn’s music…
Bitty: “When the band started we sounded more like a State of Fear style crust band,
and we slowly morphed into metallic epic crust.”
MM: How did you come to hook up with Southern Lord? What was it about SL
that appealed you as individuals and as a band, and why did you think the label
was the right fit for you guys?
Bitty: “Ryan was a huge fan of Southern Lord records for years. I was really stoked
once I saw they had Wolfbrigade. They have also started to pick up several other
bands from the genre I enjoy, so for us, it just made sense. The distribution, PR, and
advertising is nothing shy of amazing.”
MM: Can’t talk about labels without talking about records, which sort of neatly
brings us to ‘Iconic Nightmare’… Do you want to tell us a little about the record?
How do you feel about it now that it’s out there, what’s the reaction to it been like
so far, and how do you feel about aforementioned reaction? Must have been kind
of a roller coaster of emotions as you approached the release date for the album
huh? You did you feel about ‘Iconic…’ as the release date rapidly approached…?
Bitty: “We’re all extremely happy about how the record turned out. The writing
process went smoothly, Marald made the artwork even better than I could have
imagined, Adam Tucker recorded it with perfection, and Hush did an amazing job
with the artwork for the inserts. Jack Control mastered it exactly how we wanted it to
sound and Southern Lord has pushed the shit out of the record so far. We are doing
our best to tour and support it, so to us it’s a win-win. I’ve gotta say, I’m really happy
with the way it turned out.
MM: Again, given that you’re nearly always out on the road, do you have time for
a personal life anymore? What do you do to decompress when you’re not playing
or recording?
Bitty: “I play in five bands right now and work full time at a business that I own.
I’m pretty sure ‘decompressing’ is what I try to avoid. I also started a record label
called Unleash Hell, and the first release was the Dresden/Hellbastard split LP with a
download card. You can get our records atwww.beercity.com.
MM: You used to be a Pro-Wrestler as well right? Do you want to tell us a little
about your career? What were the best and worst moments of your career, and why
did you retire from the square circle?
Bitty: “I pro wrestled for about a decade. I guess highlights included owning half
of a company with TV. We had many talents we worked with, such as CM Punk,
Daivari, Mr Kennedy, aka Mr Anderson, Hornschwaggle, and many others. I taught
pro wrestling for about five years at the ACW Dojo of Pain, which was a joyful
experience considering one of the students, Ken Anderson, turned into a two time
world champion in TNA, pinning Sting and Jeff Hardy. He was also a WWE United
States champion. I got out of wrestling because I survived an attempted homicide that
required surgery, which caused me to lose much needed flexibility in the ring.”
MM: Okay, I know you must be sick of telling this story, but it’s hair raiser and
possibly one of the scariest tour stories ever – you got van-jacked while on touring
with one of your bands right? Do you want to tell us all about it and what
happened?
Bitty: “Wartorn has a song about that incident actually; it’s called Aftermath of a
Severed World. What happened was I was driving the band back from a gig when we
saw a couple of guys stranded on the side of the road. We pulled over and picked them
up to give them a lift back into town. They repaid the favor by pinning Hart to the
floor and tossed a cord around my neck. ‘Pull over motherfucker where going to kill
you!’ they yelled. Rather than stop the van, I decided to put an end to this by putting
my foot down on the gas pedal. Crashing seemed like a better option than pulling
over and getting murdered. We slammed into a parked truck going over 70 miles an
hour. Things are a little fuzzy from there on, but when I regained consciousness, the
carjackers were gone with blood trails leading in all directions.”
MM: Apart from the previous story, what’s the strangest, most out there, bizarre
thing that’s happened to you or the band while on tour?
Bitty: “We were on tour in Europe and traveling through the French Alps on our way
to the next gig. Ela wakes me up and says ‘do you smell that? It smells like something is
burning.’ I just respond “I’m sure it fine, I don’t smell anything.” Suddenly the van fills
with smoke and the brakes are out. We are unable to stop but our driver slows down
the van just enough and we all jump out of the van while it’s still moving. He slows
down the van more and drives one of the front tires into a wall to get it to come to a
stop. The wall ended about 20 feet further so luckily he brought the van to a stop or
there would have been no other way to stop it. We were stuck in the mountains for the
next 8 hours in the rain waiting for the tow truck to arrive. When we got picked up
and taken out of the mountain range we ended up in Grenoble France. Which I had
to chuckle about because that is where André the Giant was always announced to be
from”
MM: You’re a skater as well right? Why do you think punk rock and skating used
to intrinsically linked, and were almost joined at the hip and why do you think
that they seem to have drifted apart in the last fifteen years or so? Do you think
that we’ll ever see a resurgence in the relationship between skating and punk rock?
Bitty: “Back in the 80’s, skating was a means of rebellion in a similar sense that punk
music was. Both were a means of expression that was different from the norm and
most often shunned or outcast because of this. When I got into it, skating was an
individualized, athletic art form that fit well within the punk scene. It probably didn’t
hurt that skaters were often featured in punk rock videos and skate videos featured
punk music. By the 90’s, skating wasn’t featured with punk rock as closely, branching
out into other genres. Not to mention that skating was being pushed by the X-games
into the main stream which cast rebellion to the wayside for most skaters and punks
alike. It became more about a competition and less about an artistic expression; it’s not
that much different from organized sports these days.”
MM: If there was one thing, one goal, that you’d like to achieve with Wartorn, or
see the band achieve, what would it be and why?
Bitty: “To tour Japan, just because we’ve always wanted to and haven’t had the chance
…yet.
MM: What’s next for you guys Bitty?
Bitty: “Touring, touring, touring, writing another record, and more touring.”
MM: If there’s anything that you’d like to add, now’s the time….
Bitty: “You can get our new 7- inch and LP discography with a download card for
every song we’ve written to date athttp://www.profaneexistence.com/ . You can also
get our new LP/CD of Iconic Nightmare at http://www.southernlord.com/ . If you
want to get a hold of us, write me at [email protected] . Thanks a ton for the
interview!”
M
M
http://on.fb.
me/YeUnQR
INJURED EYEBALLS - 4
WHAT MAKES A COMIC SCARY?
by Jasper Bark
Many people see comics as a bastard hybrid of films and prose, kind of like a movie on a page. While it’s true that studying film and prose techniques will improve
your ability to both write and draw comics, it’s also fair to say that comics are a completely different medium, with a unique set of weaknesses, challenges and
strengths. Nowhere is this more apparent than in Horror Comics.
One of the best ways to illustrate this is to look at the techniques that prose writers and film makers routinely use to scare their audience that comic creators just
can’t utilise. One of the major resources for a horror prose writer is the reader’s visual imagination. No matter how graphic the writer is in their description of a
beheading or a disemboweling, the reader will add more details in their minds eye and push themselves to the limits of their endurance.
On a comics page you have to show all those gory details without leaving the reader any room to add more. With a page of prose the reader is thinking ‘OMG that
severed head is spinning through the air and there’s so much blood!’ Whereas with a page of comics, where the action is actually depicted, they may be thinking
‘hmm surely a head wouldn’t spin like that and shouldn’t there be more blood?’ The visceral horror isn’t limited by the reader’s imagination, but by the ability of
the artist to depict it.
One technique that film makers often use to scare their audience is to contrive tension and then release it with a shock appearance. You know the routine. The
heroine has gone into the basement in search of her boyfriend who’s just been murdered by the maniac. The maniac’s hiding round the corner. The heroine’s
just about to turn the corner. The maniac’s raising his axe. The heroine turns the corner. The maniac isn’t there. No wait, he IS there! Boo! AAAH! It’s a simple
technique that’s been used to excellent effect by many masters of the genre and no matter how aware we are of being manipulated, it gets us pretty much
every time.
In comics this technique is completely redundant. You can’t shock the reader with a surprise appearance because they only have to glance at the bottom of the page,
or over to the next panel, for the whole shock to be blown. You can hide the reveal on the next page, but the reader might well have flicked through the comic on
the way home to appreciate the art, or simply have turned too many pages at once and seen the image already. Either way it’s a time honoured technique that we
comics creators just can’t use.
So comics are more limited in the techniques they can call on to scare the reader, and yet some of the scariest stories I’ve ever read have been comics. The question
is how did they do it? How do you bring fear into the funny pages?
I think the best way to answer that question is to deconstruct two of the most frightening classic horror comics I’ve ever read and find out what makes their undead
hearts beat.
I BALKED WITH A ZOMBIE
The first story I’m going to look at is Till Death written (most probably) by Al Feldstein and drawn by Johnny Craig. It tells the story of Steve, an American sugar
plantation owner who brings Donna, his sweetheart, out to Haiti to marry her. Unfortunately Donna soon succumbs to jungle fever and dies. Overcome by grief
Steve confides to his faithful manservant Jebco that he’d do anything to have her back, permanently by his side.
That night Jebco and his fellow natives resurrect Donna’s corpse in a voodoo ceremony and bring her back to life as a zombie. At first Steve is overjoyed but as
Donna’s corpse begins to rot in the tropical heat he is increasingly repelled by the sight and smell of her permanently by his side. Steve tries to put an end to
Donna’s presence by shooting her, stabbing her, drowning her and even dropping her from a helicopter into the jungle. But all to no avail, she keeps coming back
to his side, looking even more foul each time.
Finally, unable to stand it Steve takes poison and commits suicide, but still his horror doesn’t end. He awakes from death as a zombie, resurrected by his faithful
manservant and there, waiting for him, is his rotting zombie bride who will now be permanently by his side for all eternity ...
One of the first things that makes this story so effective is that it’s told in the present tense and in the second person. All the way through the story the reader is
addressed as ‘you’ forcing them to see everything from Steve’s perspective. This is a technique that is really difficult to achieve in prose, because conventionally all
fictional prose is told in the first or third person and in the past tense. If you break this convention you run the risk of alienating the reader and making the horror
less real. In comics however, because the text is allied with the pictures it has the opposite effect and actually draws the reader in, letting them live through the
story, as it happens, along with the protagonist, making the horror more immediate and real.
The other thing the story does, like all truly great horror, is to take a very real fear from every day life and create a metaphor to explore and heighten that fear. In
this case it’s the fear of being trapped in a relationship with someone for whom all love has died and that you now find repellant and suffocating. In comics though,
you can turn this metaphor into a potent visual image that really drives the point home. Craig’s depiction of the way Donna’s rotting corpse increasingly decays and
how she submissively but steadfastly clings to Steve sums up the death of their relationship far better than any prose could. What’s more the compressed timeline
of comics means the story has far more impact than a film would, due to the time it would take to show Donna’s corpse rotting away.
So despite the limitation of the medium, this story is far more scary because it is told in comic form.
BENEATH THE STREETS ... THE HORROR!
The next story I’d like to look at is the The Monster of Dread End ... written by John Stanley and drawn by Ed Robbins, you can read the whole thing here (http://
www.besthorrorcomics.com/pdf/Dread_End.pdf) and I would urge you to do so. The story starts with a brief history of Hawthorn Place a once thriving street in
the middle of a bustling city, now merely a long row of deserted buildings. Hawthorn Place was the site of a series of child abductions and murders. The children
were taken from their homes, often from rooms with locked doors and windows, and their corpses were unrecognisable when discovered. The police were at a loss
to do anything and eventually all the residents packed up and moved out.
Seven years later Jimmy White, brother of the first victim, returns to the street determined to find the killer at all costs. He stakes out the street but by five in the
morning he’s seen nothing. As Jimmy decides to leave he sees a long reptilian arm, with a huge claw on the end, snake its way out of the sewer like a serpent. This
is the monster that’s been abducting the children. Jimmy tries to run but the arm pursues him chasing him through the back alleys. Then, just as the arm is about to
strike it is mown down in a hail of gunfire.
The police have been staking out the street too, waiting for their opportunity to catch the monster. Thanks to Jimmy they have found it. A forensic scientist
examines the giant claw and determines that the monster fed off the children by crushing their bodies then absorbing them through the huge pores in its palm. The
monster’s reign of terror is finally ended.
Once again the story creates a fantastic visual metaphor for a very basic primal fear. In this case it’s the fear that beneath the everyday world of our streets and
houses lies an ancient primal force that can pluck us out of our beds and take us when we are at our most vulnerable, and not even the comfort and security of our
homes and our parent’s care can protect us from it. Nothing can more perfectly embody this fear than a huge reptilian hand that rises from the sewers at night and
reaches into the bedrooms of sleeping children.
What makes this story even scarier is the fact that we never actually see the full horror either of the monster or its victims. As I stated earlier, comics can’t compete
with the graphic descriptions of prose or the special effects budgets of film, so this story doesn’t even try. The final gunfight is depicted only as a panel filled with
sound effects. The monster itself is never fully seen, only it’s hand and arm. Even the bodies of the monster’s victims are not shown in the early part of the story.
There is always an innocent bystander, or a crowd blocking our view. The captions refer to each body merely as a “balled up thing ... like an empty wrapper thrown
carelessly aside”. When later we learn that the monster crushed their bodies and fed off their bodily fluids the state of their corpses is almost too terrible to picture.
All the horror takes place off the page where our imagination is every bit as vulnerable as those sleeping children.
THE HORROR OF IT ALL
It would seem then, that there are a few key things that make a horror comic truly scary. One of the main things is a central visual metaphor that symbolises a very
basic human fear and depicts it in a way that no other medium can. Another thing would be the ability to place the reader directly into the mind of the protagonist
through the use of ‘second person - present tense narrative’. In this way the horror becomes more immediate and far more personal than in any other medium.
Finally, even though horror comics are a graphic medium, what they don’t show you is far more scary than what they do. The worst horrors of all lie just outside
the panel borders, in a place so terrifying not even the most foolhardy would dare to explore.
An interview with...
Saint Diablo
Not many bands I like tour near my hometown of Panama City, FL. When they do I usually lack the funds to buy the ticket or the show’s on a week
night and I can’t take the next day off of work. On October 24th of this year, I got lucky. Not only did I have the $15 the ticket cost, I also had enough
annual leave to take off early on Wednesday and take Thursday off altogether. In This Moment (CA based female fronted metal band, not the focus
of this interview but I’m getting to the point) was going to play Vinyl Music Hall in Pensacola, just 2 hours from here. I bought my ticket and one for
my brother.
A couple of days before the show, the TBA opening acts were announced. I had never heard of either one of them. The bio/descriptions I found of
both bands left me worried. The write ups sounded like typical PR nonsense intended to dress up two new groups who maybe didn’t have a chance
in the music game. Oh well, I thought, I was there to see the headliner. Sitting in Subway a block from the venue, about an hour before the show, a
man with a Mohawk walked in with a backstage pass clipped to his shirt. I asked him if he was in one of the bands I was about to see. As it turns out
he was/is the vocalist for Saint Diablo, the first band to hit the stage. We chatted briefly.
Ricky (my brother and I) were finished eating and went to wait in line so we could get in
to see the stage and scope out our spot.
We waited, we bullshitted, we worried. Were we going to have to sit through two shitty
bands just to get to the good part? How bad would the opening acts be? First up, Saint
Diablo out of Fredericksburg, VA. The guitar cranked out heavy, angry riffs, the drums
pounded mercilessly and the bass was triumphant. When the vocals kicked in, we had
confirmation. Saint Diablo kicks major ass!!! Over the next thirty minutes our doubts
were ground into submission and buried beneath the concrete floor. We went from being
skeptics to being fans before the first song was over and we were still stoked when the
set ended. I just wish the next band to hit the stage hadn’t been emo. I still want a written
apology for that travesty.
Since then I’ve been hung up on Saint Diablo and their self-titled album, which is
available through Eclipse Records (www.eclipserecords.com). I have autographs,
memories and a kick ass SD t-shirt. I’ve been Facebook stalking Tito Quinones (vocals)
and finally realized I could probably talk him and his band mates into an interview for my
friends here at Mass Movement. I was right. Not only are the guys in Saint Diablo kick
ass metal masters, they also love their fans and shameless self promotion. That’s me,
ass kisser and interviewer.
Interview by Jim Dodge
Jim Dodge: Hey, Tito, thanks for stopping by for the old interview song and dance!
How’s the tour going? Can you give us the highlights?
Tito Quinones) It’s been unbelievable! Meeting such cool people (like your selves),
in a different city every day, playing to sold out clubs, people you never seen or met
singing the words to your songs they already know from listening to XM Radio! It’s just
unbelievable. I wish it would never end. In this Moment are amongst the coolest most
down to earth and talented bands we have ever had the honor to work with. We can’t
wait to tour with them again.
JD) During the course of this interview I will probably cross the line between
normal adoration and the ultimate kissing of your ass. Which brand/flavor of
lip balm would you prefer I use so as not to chap your backside?
TQ) Vaseline works best. Anything water based.
JD) How will you exert your god-like power over me and all of your other fans?
TQ) Bringing it hard and make faces melt with our brand of bilingual metal. Our stage show is something special to see to
say the least. We are a well oiled hardcore metal machine on (on stage and in bed [lol]) of multiple styles and won’t stop brining it until
you are traumatized and/or get whiplash! And if that don’t work we will use Jager and roofies!
JD) Right now, the year 2012 is winding to a close. What has your biggest accomplishment been for the last year and what would you like
to accomplish before the year ends?
TQ) Got a real DEAL for starters! We are unmistakenly a national recording artist(s) now. Our CD is available in all retailer shelves and on line as
well. We got investors. All pro MTV video. National press and radio campaign. Radio play on 100s of stations including Sirius XM Radio. Music
avail on Pandora, heart Radio, Spotify, etc. Mayhem fest for the 4th year in a row. National tour with a top 40 active rock band In This Moment.
Radio interviews, press junkets... it goes on and on. It’s been a HUGE year and we are not done yet. We are hitting the east coast and beyond till
year’s end and gearing up to do the Wintour Exposed festival in 2013 all over America 1/12/13 through 2/14/13.
JD) Do you think the world’s going to meet its fiery doom on Mayan Doomsday (December 21, 2012 for the uninitiated)? Will zombies
rise?
Hope not. I want to be somewhere tropical if/when zombies rise. We will be in Columbus, OH that night at the Alrosa Villa. It’s going to be a Mayan
End of the World Party.
JD) Should we wear our nuclear-proof underwear and lead pajamas?
TQ) Too restricting. Human size-radiation proof- hamster ball with a door to allow in visitors would be much more functional, in my opinion.
JD) If you were stranded on a deserted island waiting for the fall-out from the nuclear holocaust, what would you want to have with you?
TQ) Blunt wraps, lots of Chronic, several black Bic lighters, lots of Jager, my wife, my band, my family, and friends. Oh yes, and my microphone,
watermelon twist trident gum, tropical trail mix and my iPhone.
JD) Would you play one last show for the monkeys and palm trees or would you spend your final moments in the arms of the Swedish
Bikini Team?
TQ) Damn! Music for monkeys or Swedish bikini team...tough question...what kind of monkeys are we talking about, what would they (the
monkeys) be wearing and are these palm trees banana bearing palm trees or coconuts? I don’t feel I can truly answer this without all the info. I’ll
have to come back to this one.
JD) Here in the metal world we gauge success differently from the mainstream cattle. Would you consider yourselves more successful
if you played to a sold out show at Madison Square Garden for a well behaved sitting down crowd or for a thousand screaming maniacs
who knew all of your lyrics in a club nobody’s ever heard of where there was a casualty count after the show?
TQ) I want it all. GIVE ME BOTH!
JD) I know you were less than thrilled to be billed below an emo band and given less time to play during the tour where we met. Was this
because the promoters felt like they were more accessible than Saint Diablo or was there something more to the decision?
TQ) Politics bro, POLITICS. No matter what field of employment or work you are in, there will always be politics. Sometimes they work for you and
it’s cool. Sometimes it’s the opposite. ROCK N ROLL man, rock n roll! Got to roll with the punches.
JD) Personally I wanted to go punch their singer in the face and work that mic in the proper way but my meds were working like they
were supposed to and I restrained myself. If I had done that would you have paid my bail?
TQ) There would have been an anonymous donation made in your name and you would have been out by the next morning.
JD) Your self-titled album was released this year by Eclipse Records and it kicks ass. How long do you think it will be before you hit the
studio again?
TQ) In studio now! Spanish album will be out early 2013 and new, new cd out mid or late 2013.
JD) My local rock station isn’t currently supporting any local or regional acts. They don’t seem to be in a risk-taking mode right now.
Even though there are some heavier songs in the regular rotation they’re all from established bands like Hellyeah!, In This Moment and
Five Finger Death Punch. Would you be willing to soften your sound to get one of your songs on mainstream rock radio? Do you think
you could write a power ballad if there was enough money to me made from it?
TQ) I’m a fan of success. I am an artist before I am any “specific type” of musician. If done with integrity and heart then I would/ could/ and should
push the boundaries of my (our) art...but, then again, that’s just my opinion.
JD) I usually run out of steam at about this point in any interview so I cheat and offer the interviewee a chance to promote something or
to make a statement that my questions didn’t lead us to. Here’s the podium, what would you like to share with the class?
TQ) Www.saintdiablo.com. Get the CD. Watch the video. Go to a show. Share us with EVERY one you know!!!!!!!!
JD) Once again, thank you for answering this batch of pointlessly awesome questions. If you get a chance, howzabout you set up a tour
stop in PC for me? I promise not to stalk you…much.
SD) I’m all about bro! You are very welcomed any time! We will be in Jacksonville, FL at Brewster’s Mega Plex on 1/20/13. PLEASE TELL
EVERYONE!!!! Thank u SOOOOOOOOO much for making a connection with our life’s work and for being the cool dudes you are! Please Stay in
touch and let me know if you ever need to get bailed out for emo hate crimes! \m/ TITO
www.facebook.
com/officialsaintdiablo
NOW THEN
GADGIE...
Marv Gadgie
Now then gadgie,
Every town in all the land has a generation of teenagers who go somewhere to, well, you know, just hang out.
Whether it be outside a shop, a playing field, a park or some
other open space, there’s always a spot in every town where
kids of all types will congregate and generally sort of interact
and awkwardly express themselves to each other. We had The
Avenue. A big, wide road that bisected two very posh estates
and was flanked from top to bottom by a veritable canopy of
enormous sky scraping trees giving the paths and road beneath a strange ethereal feel at times. Friday night, of course
was hang out night and an eclectic gaggle of kids would
descend en masse to The Avenue from all over the town. A
heady mix of representatives from every branch of the school
social strata would all mingle, show off, talk and well ... as I
said just hang out, Of course, add booze to this hormonal
merry go round of fourteen to sixteen year olds, and things
could interesting. Now when I say booze I mean three lads
sharing sips from two tins of Carling and making out that
they are wass hard and drunk without being either. This
horsey girl once however, did it in fine style and by the time
her Dad realised that a full bottle of wine was missing from
his drinks cabinet, she was falling around on a kerb, crying
about nothing in general and hoying her guts up after necking the lot. I’ll never forget the combination of horror, relief
and utter wretched vomit-in-the-hair and everything look
on her face when Dad’s car door opened and he scooped her
up to take her home and ground her until her 39th birthday.
Girls were, let us be honest, the real reason we all went out.
With that air of delusion that only fifteen year old boys have,
a shower, brush your hair and go out with it still wet, splash
on some Brut 33 and you are looking good – ladies beware!
In reality you looked a tit. There were mullets. Yes, that most
reviled of hair style that for some reason was deemed cool
in the middle of the cultural vomitorium that was the ‘80s,
could still be spotted frequently in the north east of England
well in to the early 1990’s! Checking your look in the mirror
post shower, your jet black flowing long at the back monstrosity would hang resplendently over your shoulders in all its
short top and sides glory. By the time you got to The Avenue
however, it had dried and you looked like a Second Division footballer. I remember meeting this really cool and hot
blonde lass once who went to a different school but knew all
the posh kids. She had ice white hair in a bob which wasn’t
the done thing amongst the posse of permed pink ladies from
our school. She also wore a cardigan that was a bit too big.
No Gallini sweatshirts here. No batwing jumpers or ski jackets for her. Nope. She also had a Stone Roses t shirt on before
anyone really knew who the mischievous Manc monkeys
were. I had discovered my first indie girl and I liked her. I had
seen the Indie Chart on ITV’s The Chart Show last Saturday
and had a rough idea who they were and my mate Clive, who
wasn’t called Clive but everyone called him it to piss him
off, had come back from his Dad’s house somewhere up in
Scotland with 12”s by Northside, The Happy Mondays and,
oh lordy, The Farm. I could blag this I figured as I suavely
introduced myself with some stinging line like “Alright, I like
your t shirt” Ladykiller me. “Do you like the Happy Mondays
as well?” Class. I was on a roll. I thought I’d hit the jackpot
when she answered that she did and I carried on my seduction, talking about the “Wrote For Luck” video I had seen
last Saturday and mentioned a few other bands that I’d seen
clips of on the same program making out I knew loads about
‘em and, you know, heard they were playing Middlesbrough
Town Hall but couldn’t go ‘cos you know my parents are
Nazis. Or summat. She wasn’t so keen on Brideswell Taxis I
discovered and the conversation dried up a bit. I imagined
myself as some indie connoisseur with a pile of obscure, but
painfully hip records at home when in reality I was more
likely to treat a prospective visitor to my bedroom to a Cyndi
Lauper 12”, U2’s “Under A Blood Red Sky” CD or the fucking Soup Dragons! My attempts to woo the enigmatic young
lady were doomed to failure but I honestly believed that I
had more chance of some snogging than Snuffy and his side
kick Urine (not their real names I imagine). Hanging out
with us at a bus stop in the middle of the leafy lane, Snuffy
tired of us lads blathering on about going to the Boro match
tomorrow, and turned to Urine suggesting “Come on mate,
well never get any clit hanging around with these losers!”
They wandered off down to the beck that streamed along the
waste ground by The Avenue, presumably in search of willing
“clit” but more likely bumping in to Acky, the local psychopath who was well known to all for his prodigious use of
recreational drugs in some nearby woods with his despicable
henchman whose name escapes me but was probably something like Pezzer or Scrote. Actually there was a lad called
Pezzer who kept a motorbike in his bedroom and legend tells
that his family didn’t have enough light bulbs for the whole
house and used to take them from room to room on a night!
We weren’t exactly from the most affluent side of town, but
these two were sacky as fuck and had the social skills, academic achievements and career aspirations that would make
a Neanderthal Man tut and shake his head. I think Acky had
a five-a-side team at the local sports hall called the Hairy
Beefburgers who won every match. This of course didn’t
suggest any superior technical ability and tactical nouse, no,
it simply meant everyone was shit scared of getting their nose
booted in for daring to tackle them or try and score against
them. They all played in Doc Martins. Followed Boro home
and away he did though with a packed lunch that included
four cans of supermarket lager and a lead pipe. His approach
to fashion was suspect and a filthy grey over coat would
probably have to be surgically removed from him if it were
ever to come off. I remember seeing a tiny, but firey, lady
Maths teacher smacking him round the head repeatedly at
school once for not understanding what two bananas plus
one apple was ... Saying that, we were not the most fashionable of fellows, me and my mates, and this was brought home
all the more when venturing to this most exclusive end of
town where all the rich kids lived. They all had expensive
mountain bikes. While me and my buddy Honker had to
settle for ploughing through the mud on Raleigh Mavericks
and Mustangs, before bezzing home caked in mud to get
done off Mam for trapsing it all around the house and having
the indignity of having to disrobe outside before pegging it
through the living room in your shreddies, carrying a bundle
of filthy tracky bottoms and a sweatshirt covered in millions
of muddy spots from the back wheel, where there would
always be some Great Aunt visiting who was sipping tea out
of the china that yer Mam never ever let you near to “get up
them bloody stairs and in that ruddy bath lad”, they all had
Muddy Fox bikes and proper mountain bike clothes and shit.
And didn’t they know it? At every opportunity the fuckers
would love to show everyone just how fucking much money
their Daddy had. Bastards. If you didn’t have the right bag,
trainers, jacket or even at one point bloody pencil case(!)
there were a gang of wankers in rugby shirts and twat shoes
(you know the ones, like a moccasin/deck shoe type thing,
you know the type? Worn by twats!) who would happily take
the piss out of you for it. Kippo was such a turd and delighted
in stealing Hareso’s ruler once and making the ends all curvy
on the belt sander in CDT or there was the time he made
Zebbedie the laughing stock of the class because he dared to
wear some trainers that were Hi-Tec or Dunners and weren’t
Adidas, Puma, Nike or whatever else was cool at the time –
though he was probably wearing something like Pony, which
in hindsight makes him more of a bell end caught up in the
short lived American Football craze of the 80’s. Yep he was
spoilt fucker and so were his army of posh bike riding, big
house living in, expensive trainer wearing wankers. One
“His approach to fashion was suspect and a filthy grey over
coat would probably have to be surgically removed from
him if it were ever to come off. I remember seeing a tiny,
but firey, lady Maths teacher smacking him round the
head repeatedly at school once for not understanding what
two bananas plus one apple was...”
morning at school however before register we were all sat in our form
room waiting for teacher to roll up and try to engage us in some sort of
conversation, Kippo pushed it too far and took the piss out of Honker’s
Mam or Dad, sending my mate Honker absolutely ape shit bonkers. When
at Primary School Plooms told Um Bongo that his Dad wasn’t a real man
because he was a beetroot which made Um Bongo cry. He didn’t go mental
and batter Plooms for this indiscretion, but in the brutal environs of
secondary school, things were different. Honker started biting his finger,
which he always did when he got angry, a sort of nervous twitch type thing,
and launched an attack on the posh fucker’s head. The usually mild mannered
fellow windmilled in to him with fists flying and arms flailing! It was a joy
to behold and seeing the posh kid getting knacked as fuck was hilarious. We
stayed away from The Avenue that weekend, but within a few months we
had a new hang out ... a big clearing up the woods where we have fires, drink
booze, try and get off with girls and watch Ryan set fire to himself, but as
always ... that’s another story ...
Marv Gadgie
It Ruined My Life
Fugazi ruined my life!
y
Mike
Talk
Dale ls
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to An
Quite a few years ago, more than I care to admit, one of my good friends Bobby Jackson bought
me a copy of the Fugazi album In On The Killtaker for my birthday. Bobby was a great provider of
amazing music to all his friends, opening their ears to new things and I had no idea what to expect
with this record, but from the first two minutes of side one, I felt excited, alive, wide awake and I
knew instinctively that this record would have a profound effect on me.
From the opening riff of Facet Squared, I knew this band was really special. The whole album
has you in a vice like grip; such is the anger, the intent, the lyrical complexity and the passion within
every bar of music. That’s not to say that the album lacks subtlety. There are a few moments of quiet
tension; a space to breath and the album even closes with what resembles an actual ballad called
Last Chance For A Slow Dance.
I had the chance to see Fugazi play live a handful of times whenever they came to the UK. Their
shows were always spontaneous, partly because the band never worked out the set list before
the gig, leaving the choice of songs for when they were onstage and playing. The band was never
shambolic, though, just very tuned-in to the crowd, the room and each other.
Fugazi stand out from other successful touring bands in many crucial ways, and it was their fiercely
DIY ethic that put the icing on the cake for me. They were totally in control of their art and destiny.
The band’s attitude and values won them many thousands of fans.
A Fugazi manifesto would read something like this:
1. No T shirts/merchandise, only music, which will be sold for no more than $8
2. Concert tickets will be $5
3. No money or energy to be wasted on unnecessary crap like light shows
4. No interference from major labels or publishers
You might now be thinking, “So fucking what, it’s 2013?” Well, doing things this way in 1993 was unheard of. Fugazi were a band that had 100% total control over
every aspect of their art, how they presented it, how they interacted with fans, how the fans were treated, and what the fans could expect to pay for music and
concert tickets.
Way more importantly, though, it showed young people just what could be achieved by just having the balls, the will and the tenacity to do it all on your own
terms, and reap all the benefits of that. Fugazi and their Dischord label turned into such a powerful underground force that before long, many major labels were
offering the band millions of dollars to sign with them. Fucking record labels, eh? Missing the point completely. To exist and succeed without major label investment
or interference was a political statement in itself. To allow a major label even a tiny slither of control would have been a gross sell-out.
Fugazi played loads of benefit shows for the homeless, for AIDS awareness, they campaigned for more shows across the US and Europe that were all inclusive 14+
shows, without alcohol. The band appeared to have a point of view on so many social and political issues that I wish more bands cared about. As such they were
better pop stars than most of what appears to be on offer right now.
There is a fantastic DVD documentary about Fugazi called Instrument. It’s filmed by Jem Cohen, a superb independent film-maker. You can watch it on
Youtube for free.
An interview with...
Mention audio drama to anyone in the UK, and they’ll invariably (and justifiably) start talking
about Big Finish, but hot on the numero uno’s tails are Bafflegab, home of the, frankly,
incredible Scarifier’s and Vince Cosmos, and on the verge of its biggest year, release wise, I sat
down to have a chat with founder and owner Simon Barnard about all things Bafflegab…
Interview by Tim Mass Movement
MM: Let’s begin by going back to the origins with Cosmic Hobo. Why did you start Cosmic Hobo and was it named
for/after the second Doctor?
Simon: Yes, it was named after the second Doctor. The reason I started it, which was about 5 or 6 years ago was because
I was working at Radio 1, and had been for about 10 years and I found that more and more drama was creeping into my
documentary making – I was a documentary maker – so in the end I thought I might as well just make a drama. So I hired
a studio and wrote a script, got some actors and that was that. I’d heard some of the Big Finish Dr Who stuff and basically
thought “I can do that”; because I’d worked in Radio such a long time I thought I could do something to a similar standard
really. The Cosmic Hobo name was really just a blatant attempt to steal some of Big Finish’s customers. Big Finish had created a market, so I got a couple of Dr Who actors; I got Nicholas Courtney and Terry Malloy, called the company Cosmic
Hobo and basically hoped we could get the Dr Who fans to buy into it.
MM: You recently changed the company name from Cosmic Hobo to Bafflegab, why change the name?
Simon: The reason I changed the name is that this year, I’ve got lots of other stuff coming out that isn’t related to Dr Who
at all. Plus, I don’t really like the name Cosmic Hobo. I don’t like the words Cosmic or Hobo and I always had to explain it
to people on the phone. It’s kind of embarrassing when you’re talking to the BBC. So this year, instead of just The Scarifiers,
I’ve got something called Vince Cosmos which is out in a few weeks, plus the biggest thing we’re doing this year, which we
record the first couple of episodes of tomorrow, but I’m not allowed to tell you what it is. So we’ve got a lot of stuff coming
through this year and none of it is even remotely related to Dr Who, so that’s why I changed the name.
MM: Where did the idea for the Scarifiers come from and how difficult was it making that idea a reality?
Simon: It sort of came from an old script I wrote years ago –a film that we never got round to making. Basically I wanted
to work with Nicholas Courtney, I’m a big fan and he’s one of my favourite ever actors in Dr Who, so it sort of came from
wanting to write a character for him, then wanting to write a sort of M R James kind of character which became Professor
Dunning. Also I wanted to write something Victorian, but as the first story for The Scarifiers involved Rasputin it needed
to happen after Rasputin’s time, and then we thought of the 1930s which we liked. So it ended up being this secret agency
called MI13 which operated in the inter-war period. I wrote the first one, then my co-writer wrote the second then we kind
of settled on a style after that. So it became a sort of comedy-horror thing but there was no grand plan in the beginning.
MM: You obviously had an idea about who you wanted to play each role…
Simon: It started with Nicholas Courtney as I said. He was the only person I really had in mind. Big Finish hadn’t been
using him very much at that time. They’d been making all these UNIT stories and had barely featured him which seemed
like a waste. Then I heard Terry Malloy doing a DVD commentary and I thought what a lovely voice he had. Then David
Benson – I was doing a documentary about the British Film industry and I got David Benson in to do the links for it in the
style of Kenneth Williams (he does a stage show as Kenneth Williams) and we were talking afterwards and it turned out
he’d done all these Big Finish things, so I asked him to be part of what we were doing.
MM: It’s impossible to talk about the Scarifiers without mentioning Lionheart. With the tragic passing of Nick
Courtney, how did it effect the series? Was there a time when you considered ending it?
Simon: We’d known that Nick was ill for a while. He had a stroke a year or two before he died so we had to delay recording the
fifth one for quite a while. He woke me up one night actually, I remember him calling to tell me that he could read ok, and he
could speak fine but he couldn’t read and speak at the same time, so we waited for him to recover from that before recording the
fifth one. Then after that, he got cancer and we were never able to record a sixth story. The sixth story was written – The Horror
of Loch Ness was supposed to be Nick’s story – and we all talked about what we would do. I was all for ending the series to be
honest. Once Nick died it was clear that Lionheart needed an ending. So we wrote the Magic Circle pretty quickly and that
sort of ended Lionheart’s character. We still didn’t know if we’d go on to make more stories, but in the end we just seemed to
carry on…
MM: Was it difficult for David Warner to fall into the already established world of MI13 given the massive shoes he had
to fill…?
Simon: Not really. David’s just a hugely experienced actor who can do anything. It was a slightly odd recording that one, it
was quite emotional. David, toward the end of the play when you find out the protagonist has been Lionheart the whole time,
and you have that scene and then afterwards Lionheart’s funeral; that stuff was really emotional. It mustn’t have been strange
for David Warner as everyone was so upset. It sent a shiver up your spine, and Terry was particularly upset. Apart from that,
David’s a complete professional and stepped right in without a hitch.
MM: What’s the atmosphere like behind the scenes of the Scarifiers? The series is so much fun, it’s hard to imagine that
behind the scenes, it’s anything other than everybody having a great time…
Simon: They are really, really hard work. There have been a couple, like the first one, where the time just crept up on us. These recordings are two hours long, and to record two
hours of audio in just one day is quite a feat. In fact, when we moved studios, so that we were using the same studios as Big
Finish; Toby, the engineer couldn’t believe we were going to get through so much script in a single day. He said it was unheard
of. Luckily we haven’t failed so far. So, it’s really hard work, but it’s really good fun. All the actors love it.
MM: If you were forced to choose, which is your favourite Scarifiers story?
Simon: I’m really fond of “For King and Country” because I think we got the balance right in that one. It’s got some fairly
gruesome horror bits and it’s also got some really funny bits, and it all builds up to a big climax in the end. So this is the one
that I feel we should be striving to make more like, but my favourite for other reasons is the “Magic Circle”.
MM: How has the comic been received? How easy was it for you to transition from the audio to the 4 colour world?
Simon: The comic’s been received very well. It’s had nothing but good reviews. I actually found it really difficult to write. Far
more difficult than I thought because it’s sort of adapted from a script but there is lots taken out and there is lots of visual stuff
in there – you have to make it interesting to look at. I just found it really difficult
MM: Is there going to be a second issue?
Simon: To be honest I haven’t made any money out of it, so if I continue to do the comic in the same way, I won’t
be able to afford to do any audio, so we’re trying to find a comic house to take it on.
MM: So, Vince Cosmos; did Paul Magrs approach you, or did you approach Paul?
Simon: It was sort of a combination of the two actually. When we did the Scarifiers, I got an email out of the blue
from Paul Magrs saying how much he enjoyed it. Then, Halloween 2011, I ended up in Whitby for the Goth
weekend, and Paul was there doing a reading in a bookshop, so I went to say hello. We ended up going out for fish
and chips afterwards and hatched the plan there and then…
MM: Do you think there is an underlying appeal about the 1970s , like with Vince Cosmos, as they’ve
almost become in vogue, a decade that people are finally starting to remember with affection…
Simon: I hope so, then we’ll sell some more copies!. Paul Magrs is slightly obsessed with the 1970s. I’ve no idea, but if people are fond of that era, they are going to love Vince
Cosmos because it completely reeks of that time.
MM: You’re also also about to release the second volume of Peter Cushing reading Sherlock Holmes…
Simon. Yes. It’s been a long time coming. It’s one of those things that hasn’t sold that well. I don’t know why. I thought that Sherlock Holmes is popular and Peter Cushing is
popular, but it turns out that there is just a lot of Sherlock Holmes product out there so I’ve been trying to work out how to make that in smaller quantities. So I’ve worked that out
and it comes out soon. I don’t know if you’ve heard them, but they were recorded in 1971 when he was at the height of his powers, and he was a huge Sherlock Holmes fan, so he’s
doing all these voices, and it’s absolutely brilliant.
MM: You said you had a busy year coming up so what are you releasing this year?
Simon: Vince Cosmos, then Return of Sherlock Holmes Volume 2. In April we start a new downloadable series, downloadable weekly, 6 episodes, which will then be release on
CD afterwards. Then there is another project with Paul Marrs, the Bride series set in Whitby, where an older Bride of Frankenstein is running a B&B and it’s a sort of supernatural
comedy adventure as the Bride solves mysteries with her friend Effy. There’ve been six books, and Paul has finished the book series, but he’s gone back to the beginning so there are
some new stories and some prequel stories.
MM: You also mentioned you’d written something for Big Finish?
Simon: Yes, my Scarifiers co-writer, Paul and I. We wrote a companion chronicles called Council of War. It has Sinead Keen in it from Being Human. Then we’ve written a Jago and
Lightfoot which won’t be out until 2014. It’s a country house murder mystery with a twist…
M
M
An interview with...
Pat Mills
Pat Mills, legendary 2000AD founding force and the
acknowledged godfather of British Comics is about to unleash
the Deluxe Marshal Law and Slaine: The Grail War, via DC and
Rebellion respectively, on the world, and so we thought it was
about time that we caught up with Pat to find out as much as we
could about the releases…
MM: You’ve got a collected edition of Marshal Law due out soon. With its ultraviolent lampooning of the whole superhero genre, would it be fair to call ‘Marshal Law’
your ‘Watchmen’?
Pat: It’s in the same genre. However, I think Watchmen still has some affection for classic superheroes. I don’t.
MM: When the character appeared in the 2000AD birthday celebration strip ‘25 Years, Creep!’ it was almost as if he was where he really belonged... I’d have loved to see
him take on Zenith!
Pat: Yeah, that would have been an interesting encounter.
MM: Is it true that some interest was expressed in producing a Marshal Law
movie?
Pat: Lots of interest. At one time it made it up to the board room at Warners with
McG as director, but didn’t happen.
MM: How did you find the experience of writing the adventures of Marshal Law
as an illustrated novella as opposed to a comic strip?
Pat: Remarkably similar. Except it’s possible to get through about 4 graphic novels in
one text novel.
MM: Did the cancelled novella ‘Cloak Of Evil’ ever see print?
Pat: Yeah, both novellas are published in one text novel entitled: Origins.
MM: Nemesis The Warlock came to a natural end a few years back, but the equally popular Slaine has been one of your most enduring creations. Why do you think that
particular strip has been so successful?
Pat: I guess cos it’s an exploration of my Irish roots. Growing up in an Irish family I knew all about Michael Collins, Parnell, Wolf Tone etc, but I didn’t know about Cuchulain,
probably cos he wasn’t a Catholic. So I wanted to find out all about him and I guess readers feel the same way about a hero who is based on the legends of Ireland , Britain and
Scotland.
MM: Have you seen Miguel Mesa’s fan-trailer for ‘The Horned God’? What did you think of it?
Pat: Brilliant! Although he should cut the last 2 seconds where the horse clip clops away.
MM: ‘The Grail War’ is the latest collected edition to be released. You worked alongside Nick Percival and Steve Tappin on this one,
but given that you have previously worked with the likes of Massimo Belardinelli, Mike McMahon, Clint Langley, Simon Bisley and
several others, do you think that the Slaine saga suits any one particular style over another?
Pat: Everyone’s great in different ways. But I set the style in Episode One drawn by my ex-wife Angela. This style was based on artists I rate
but who were hated (not too strong a word) by my peers. Notably Conquering Armies by Gal. Which I still rate very highly. I insisted on
that approach – despite some considerable passive resistance and attempts for other art styles (I turned down two very famous comic artists
who wanted to do it) and clearly it’s paid off. This means that whenever an artist takes it in another direction it can still be brought back to
its roots
MM: Unless I’m mistaken, we last saw Slaine as a wanderer back in 2010. Is the warped warrior due to make a return to the pages of
2000AD any time soon?
Pat: You bet. 30th anniversary story : Book of Scars in August. 6 stories x 6 pages each: Clint, Glenn, Mike McMahon and Simon Bisley.
Followed by a new Slaine by Simon Davis.
MM: The return of Volg-hating resistance fighter Bill Savage in the 2004 strip ‘Savage’ went down particularly well with readers,
and is continuing to this day with ‘Rise Like Lions’. In his original incarnation, Ol’ Bill (and his shootah!) may have seemed like the
least likely 2000AD character to warrant a successful comeback (apart from his comedy turn in ‘Armoured Gideon’). What was your
motivation for resurrecting him?
Pat: To prove a point. I wrote all the stories to kick 2000AD off and was dismayed by the sometimes crappy way they were subsequently
written, so that they appear to be “least likely” to return. I also designed 2000AD as a comic with all number one stories - not “Dredd and
the rest”.
MM: The climax of ‘Rise Like Lions’ carried a particularly emotive punch, but it feels like the endgame may be imminent for Bill. Can
you sum up how the saga is going to end in five words or less?
Pat: Triumph of working class hero.
MM: Finally, you formed Repeat Offenders with artist Clint Langley to develop graphic novel concepts suitable for the big screen.
We’ve already seen ‘American Reaper’ in the Judge Dredd Megazine – can you give us a hint about what else may be in the pipeline?
Pat: Yeah. I’ve written an Irish legendary screenplay for an Irish film production company and that’s got to be turned into a graphic novel…
But some way down the line. Everything takes so long, doesn’t it?! M
M
VREID
Interview by Mark Freebase
An interview with...
Having their last album ‘V’ nominated for
a Norwegian Grammy, and new album
‘Welcome Farewell’ almost two years in
the making it was time for Hvall, bassist of
Norway’s architects of black ‘n’ roll to spill
the beans; and I wanted to know if he was
into burning a church or two…?
MM: How did the band feel about the bands
nomination for a Grammy. To have an extreme
metal band put forward, to gain recognition
and nomination must have been a great buzz?
HV: It was great, something quite surreal for us
really. I hadn’t paid that much attention to the
awards so I was quite surprised about it. It was a
good thing for the band I guess and a good thing
to get the name about for more promoters and
festivals also, but other than that it wasn’t really
that big a deal for us. I don’t even know how we
got nominated as all the votes get cast to a jury
of I think 6 or 7 people, so maybe we got highest
scores?
MM: Did this recognition put pressure on
Vreid when it came down to writing ‘Welcome
Farewell’ surely?
HV: Not really. It might be good for a bit of band
marketing, but it wasn’t something that we paid
that much attention to at all. It was nice, but not
a focal point for us. Anyway I was well ahead of
writing the new material, so it didn’t get in our
way luckily. The process of getting all the album
ready was nearly two years long so it wasn’t an
overnight thought at all. I always seem to finish an album and start to write for a new one, I
don’t know why but it seems a continuous natural
cycle. The writing was done over a long steady
period, the recording itself was done over a 4/5
month timescale where we recorded for maybe
two weeks and then had a month off and then
came back to it etc, so it was a relaxed steady
pace, no pressure actually.
MM: With Hvall handling all the production
and mixing for the entire CD I was wondering
if the finished product was 100% how he had
wanted? Was it better or could the end result
have been improved on with more time?
HV: Yes, absolutely it was more than we could be
pleased with. The thing I do like is that it always
ends up a bit different to how it sounds in your
head when you are writing it, that’s intriguing.
I am lucky as I write by myself and I record by
myself, I have my own studio so there is no stress
whatsoever; no one is telling me that the clock
is ticking or whatever and I can do it at my own
pace – when it’s finished it’s finished, y’know?
That’s really important to me and I really don’t
ever see me going back into another recording
studio. It’s because of all this a better end product
can be delivered.
MM: On listening to ‘Welcome Farewell’ there
seems to be a clear influence of (early) Kreator
and Sodom to the overall background sound of
Vreid. But when one listens to the likes of ‘The
Devil’s Hand’ or ‘The Reap’ or even ‘At The
Brook’ all give off a very deep groove, I suppose that’s where the term black ‘n’ roll comes
from… how did you come about this sound
and did you decide to make it a part of Vreid?
HV: I suppose those elements of metal have been
around since the beginning, but we’ve never seen
ourselves as a typical black metal band, we’ve
always had that kind of rock n roll approach to
things and I think that on this album, more so,
those elements mix much more. The connection
is working much stronger than ever before and
that Motorhead / Sodom feel and vibe is becoming more prominent in our sound now, maybe
because that’s the kind of music I listen to mostly
myself. Those type of bands focus on the song
writing, of course they were extreme for the time,
but they weren’t extreme for the sake of being extreme, it was about the song writing and that also
goes for Vreid. It’s the song writing that is very
important, and I think bands like Thin Lizzy,
Motorhead, Kiss, Alice Cooper are great fucking
song writers but with their own attitude. We are
really aiming to take the inspiration from the old
rock n roll songs and make that part of the Vreid
sound. Even the classic thrash bands from the
early 80s had a real musical vibe…
MM: Was there a concept topic behind your
thinking? Or was it various subjects that came
about whilst in production of the songs?
HV: Well I wouldn’t say it’s a concept album as
such, like in the past where we wrote an entire album about the 2nd world war, but it is an album
of personal thoughts, it collects a lot of issues
addressed before by classic Norwegian authors or
painters and touches on topics they have bought
up in the past. I do a lot of walking and have time
to gather thoughts and ideas and think about
their issues, how they dealt with them and also
how Vreid would connect with them, and for
that reason I think people should make their own
mnid up regarding the issues we address in the
lyrical content. I found it quite easy to write
about these historical events as I have always had
a deep interest in history myself so I was pleased
to bring it all into a personal topical feel. As for
the title of the album, well ‘Welcome Farewell’
can be quite open ended. It can of course mean
the introduction of death, but also it can mean
the start and beginning of many things in your
life. It was always our intention to make people
think about what the title considers, but once
again the listener can draw their own conclusion
as to what it’s about.
MM: With the live show, do you draw ideas
from the bands image and carry them to the
stage?
HV: Well we focus very much on the light show.
It’s the important effect to create atmosphere
behind the men in black image we have adorned.
We always bring our own guy to make this
happen, but some venues aren’t as great as others,
so we try and do the best we can, we adapt to
whatever size stage we are playing on to create
the best statement of how we want to express our
music. We have to be prepared to accommodate
as we could be playing a usual size crowd of
250/300 people then on a Monday in a small
remote town we could be playing to 50/60
people, or sometimes a good night of 500+ so it’s
important we still carry the Vreid image forward.
We are a band who plays a lot live, so we’re used
to the reality of it all. One thing to bear in mind
is the atmosphere of the gigs, I mean some of the
smaller shows are completely packed and crazy,
just because they are big it doesn’t make them
intense.
MM: So where is Vreid’s biggest market?
HV: In Norway we have seen the band growing
rapidly, but I’d say Germany definitely, that’s
great for us there, and also the U.S.A. is good and
very important. But Poland and Switzerland are
coming along in strength now, closely followed
by the U.K. and we had a really good run last
year, which obviously strengthened our position
quite some.
MM: Where does 2013 see Vreid aiming, there
must be some gigs to back up the CD?
HV: Well we’re kicking off our European tour in
London in April, that will be just one U.K. gig
though, but plans are in place for us to return
with a full U.K. tour later in the year. We are
coming with another Norwegian band, but I’m
not so sure yet of the details for later on. We are a
working band, so we will hit the road hard. Dates
for Norway and the U.S.A. will be plentiful I am
sure.
MM: Being from Norway the eponymous
subject of church burning has to be addressed,
especially with the bands close association to
black metal… so tell me your views Hvall?
HV: Ha Ha Ha Ha Ha, I knew you were going to
ask me something like that. Well were not into
that at all. People still make that association that
if you are in a band and you play a guitar you
must be into burning a church… but we’re not
Satanists at all, we’re not religious in anyway. I
think that a lot of it was more of a youth revolt
and nothing to do with the satanic beliefs. The
scene was really very small and they did some
kind of action that got them really well know,
but I do believe it was carried over from the early
angry punk scene and a lot of the violent Norwegians who wanted to revolt. A lot of that church
burning happened in the early 90s and people
like myself were very young at that time, so it’s
just what we heard about as we were growing up.
We are Norwegian pagan bastards I guess! M
M
www.
vr ei d.
no/
You’ve heard of Hot Water Music right? Of course you have, and because you have, you also know who Chris Wollard
is, he’s one of the singer / guitarists from HWM and he’s also the guy who, with his other band, The Ship Thieves, has
just released one of the best rock-n-roll records of the year, “Canyons…”. Yeah, it really is that good. And because it’s
that good, I had to catch up with Chris for a chat about music, life and everything that happens in between both…
Interview by Tim Mass Movement
An interview with...
Chris Wollard and the Ship Thieves
MM: For the sake of those folks who’ve been living under a rock in music-land, would you both introduce, and tell us
a little about, yourself…?
Chris: Yup, yup... Hello there, I’m Chris Wollard, I live in Gainesville, and I play guitar.
MM: I can’t help it, I have to know… Where did the name ‘The Ship Thieves’ come from? What made you choose it and
how and why do you think it suits the band?
Chris: No problem. “The Ship Thieves” is a book by Sian Rees. I read it years ago and it has just stuck with me. I guess,
at its root, it’s about a guy (James Porter) escaping from prison. Over and over again. It’s a true story of a man sent to
Van Diemen’s Land in the early 1800’s, and it’s about him refusing to accept the fate that was handed to him. To me, it
is about taking control of your life. It’s about freedom and the human spirit, and if that’s a little cheesy, I don’t care... I
fell in love with the story, and I find it a huge inspiration, so I named the band after it.
MM: Do you think of Chris Wollard & The Ship Thieves as a solo venture or a band? Inevitably, the popular consensus
has assumed that it’s a solo outing, so I just sort of wondered how you saw the band? Why?
Chris: Well, the whole thing has evolved quite a bit really. The first album was more of a solo record I guess, but, it’s
not just me playing on it. I was traveling a lot on my own then, and I was just kinda making random recordings with
different friends in different places. I didn’t really have a plan for it at the beginning, I was just working and having fun,
and an album came out of it and I guess I just didn’t want to stop. I wanted to put a real band together and see what we
could do with this. So, that’s what we did. We spent a while honing the line-up, trying out different ideas, figuring out
what we were good at and slowly building “Canyons”...
MM: Right, time to talk about the new record, ‘Canyons’ then Chris... What was the writing process like this time
around? ‘Canyons’ is your sophomore record with ‘The Ship Thieves’, so was it any easier the second time and was
there anything you learned from doing the first record that you brought to the writing and recording of ‘Canyons’?
Chris: Ha, ha, yeah. Well, the writing process was a little bit the same, and also totally different. I do most of my
writing at home on the porch, but I guess I’m usually just trying to find the guts of the song at that point, you know,
just kinda figuring out the melody, the words, and how the parts fit together, but there’s a lot more to it than that for
sure. You still have to find out what to do with it as far as drums, intro. guitar leads, bass lines, back-ups, tempo etc are
concerned and that’s where they are totally different...
The 1st album was made without a single practice. No joke. Nobody knew the songs before we got to the studio
and started working on them. It was kinda crazy, but like I said before, we were just having fun in the studio and seeing
where things went. Sometimes it worked smoothly, and sometimes it didn’t work at all, but that’s how it happened.
“Canyons” was more traditional in approach. Long, long nights at the warehouse, endless demos, and lots of time on
stage. We beat the songs to a pulp, twisting them inside out and slowly found the songs we were looking for. I guess,
in hindsight, it’s kinda strange how
different the processes were. But it didn’t
really seem like it at the time. One idea
just led to the next. I mean, you’re always
learning, and always looking for a way to do
things better... and that’s what pushes you
forward...
MM: Sticking with a similar sort of theme
for a minute, how do you think ‘Canyons’
differs from your debut?
Chris: Well, I’ve got a kick-ass rock band
now ha, ha! HUGE difference...
MM: What sort of lyrical subjects and
ideas have you explored with, and on,
‘Canyons’? Are there any lyrical subjects,
as a song writer, that you avoid, and if so,
what are they and why? And, vice versa,
are there any subjects that you tend to
embrace, and if so, why?
Chris: Hmmm, that sort of stuff is always
changing. Hard to say I guess, but I try not
to be too heavy handed. I think sometimes
you can put so much of yourself into a
song, that there’s no room for the reader
and I try to avoid that. Topics can come
from anywhere, characters can come and
go, scenes can change, but I guess, a lot
of the time, I’m just kinda showing little
snapshots of where I’m at and if I’m lucky,
and it all works out, then all the scenes will
just kinda blend together and tell a little
story and I think if you get too heavy
handed, you can mess that up. You can
end up with too many fingerprints on it,
and then it’s hard to see clearly and so,
sometimes you have to take a step back and
remove your own feelings a bit. Sometimes
the landscape is just as important as the
character telling the story, you know?
MM: Musically I couldn’t shake the feeling
that ‘Canyons’ whilst having the energy
and urgency of punk rock, also has a
huge power pop meets bluegrass meets
Americana sound, all of which fuse to
create thus huge, driving, sing-a-long
record crammed full of anthems, but try as
hard as I might, the closest I could come
to nailing the sound down was Social
Distortion meets Bruce Springsteen with
a huge slab of The Replacements thrown
in for good measure….So, and here’s the
question at last, who and what influences
you musically Chris, and how do you think
those influences manifest themselves on
‘Canyons’?
Chris: Yeah, you’re pretty close there,
maybe not those specific influences, but
yeah, that’s kinda the idea I guess. I wanted
to make a rock n roll record. Sometimes
that confuses people. I don’t know why.
Like “what do you mean by ‘rock n roll’?”
And I guess I’ve never had a good answer
for that. But I don’t need one. I grew up
playing rock n roll, and though I’ve been
doing it my whole life, I kinda felt like I was
getting away from the place where I started
and I wanted to get back to it a bit. I wanted
to get back to this place where I wasn’t
dividing all my music into genres and subgenres, and I was just enjoying. Learning.
Relearning. And playing guitar. And that’s
what I’ve been doing, diving back into the
things that got me started, and seeing
where it takes me and I’m having a blast
doing it. I feel like a student again and it’s
kinda awesome.
MM: I guess it was inevitable that the
subject was going to come up… Creatively,
do you approach HWM and ‘The Ship
Thieves’ differently, and what does each
(that is HWM and The Ship Thieves) give
you, creatively, artistically and personally,
that the other can’t?
Chris: It’s hard to compare the two really,
very different bands. HWM is 19 years deep
now, and I don’t think you can replicate the
kind of chemistry that gives you, on stage
or off. We know each other better than we
probably should ha, ha. And when you are
working with people you’ve been so close to
for so long, things just happen differently.
You communicate differently, you are just
so in tune with each other. It’s hard to
explain it. It’s like an old married couple
that finish each other’s sentences, except
that the “old married couple” is actually 4
really cool dudes ha, ha, ha Ship Thieves
DON’T function that way. We haven’t learned that yet. We are still figuring things out, still
bumping our heads, still making lots of mistakes, and that’s why I love it. There are no
barriers, no rules, and no great examples to follow, we are totally free to screw up as much as
we want, and that’s what makes it so exciting for me...
MM: What have you learned or discovered about yourself from being a part of both HWM
and The Ship Thieves? What has playing, writing and recording music taught you about
yourself that nothing else could have done?
Chris: Well, I’m from Flint, Michigan and when I was a kid, my dad told me I’d have two good
options in life. The factory, or the army. I almost joined the army(which is a story for another
time) but music taught me that I didn’t have to accept my “two good options” It taught me to
take control.
MM: What do you think you’d be doing if you weren’t a musician? Are there any personal or
career roads that you wish you’d maybe explored, and would maybe like to maybe venture
down in the future?
Chris: Really, I have no clue. But I thank my lucky stars, maybe I could be a travel writer for
lonely planet when I grow up?
MM: Is life on the road, that is touring, and writing and recording music everything that you
thought, hoped and dreamed it would be when you were younger, or is it vastly different? If
so, how does the reality of it differ from the dreams and ideas that you once had?
Chris: Yeah, or no. Hmm, tough question. I mean, I started traveling as a roadie for a grindcore
band when I was 16, so i learned early on that the road was no easy thing to conquer, but as
the years have gone by, and I’ve seen more of the world (and the industry), I’ve still definitely
had a few wake up calls. You gotta have some thick skin, good luck, and incredible patience to
survive this, and if you don’t have the right people around you, you’re toast.
MM: What’s next for you Chris? Is there anything that you’d like to add?
Chris: Well, hopefully... MORE of everything! M
M
myspace.com/shipthieves
Pentagram
An interview with...
The US Doom-meisters recently returned to the UK for a short tour playing their classic 1985 album
‘Relentless’ in its entirety as a farewell to departing guitarist Victor Griffin. With typical Pentagram
misfortune, the tour was almost cancelled due to Hurricane Sandy, but the band managed to make it
with a hastily re-arranged itinerary. Mass Movement was lucky enough to snatch a few words with
legendary frontman Bobby Liebling.
Interview by Ian Pickens
MM: Hi Bobby. Thanks for taking the time out to do this. How are things going?
BL: Life is a struggle that’s worth the fight.
MM: This is true. It looked as if Hurricane Sandy was going to jeopardise the UK tour; was there
a point when you thought it might not happen? Did rescheduling the Bristol show cause you any
major headaches or was it simply a case of ‘Heads Down, Carry On’?
BL: It’s the old saying, “The show must go on”. It was very nerve-wracking. We had to reschedule
international flights from the US to the UK but also 4 flights, for the band and crew, including my wife,
that were within Europe and the UK. We lost a lot of money on the tour. We packed all the houses
and sold out of merch but I still came home with only $400 profit.
MM: When I last spoke to you back in 2011 you were looking forward to playing your first UK show
in London; now you’ve actually toured here did it live up to your expectations?
BL: IT’S THE BEST. We loved it, and it was a dream come true. THANKS SO MUCH. We’ve been
influenced by so many bands from the UK that it was like living a dream.
MM: You’re playing the ‘Relentless’ album in its entirety on this tour; what was the rationale behind
that? Is it to draw a line under Victor Griffin’s tenure in the band?
BL: We thought it was a special thing to do since it’s never been done. And yeah, it was a salute to,
and for, the amazing Victor Griffin. I think that it went over pretty well and it was good to play those
old heavies again
MM: Will you be playing any other older classics such as ‘Lazy Lady’, ‘Forever My Queen’, and ‘Walk
in the Blue Light’ on the next tour?
BL: On the 2013 shows, we’ll be bringing back more of those old songs that I did in the early 1970s.
Those weren’t Victor’s favourites but I love them all so we hope to bring back a few of those on the
next tour. And record some unheard of ‘70s songs of mine on the new album. We hope that Metal
Blade will put it out for us.
MM: Did you think you would still be doing this almost 40 years after the band started? How do
you balance being a father with touring? Do you bring your family on tour with you?
BL: My wife came with me this time. We never had a proper honeymoon and I wanted to show her a
bit of the world. I’m a stay-at-home dad; my wife is home all the time as well. So, little Bobby gets
plenty of attention and we all are so blessed to be able to do that. His grandmother takes care
of him if we both have to be on the road. That’s only been once, and for less than two weeks.
It’s very hard to be away from him though! It makes touring also feel very much like work. Hard
work!
MM: You’ve being auditioning for a replacement for Victor for when he leaves at the end of
the tour? How has that been going? Have you found a suitable axe grinder?
BL: Not yet, but we are hopeful. We’ve tried out dozens of good players but we need the right
person. And we hope to make an announcement soon.
MM: Are there plans to record a follow up to ‘Last Rights’; are you still looking to release it
on Metal Blade?
BL: We hope they’ll pick up the next option. We love being on Metal Blade!
MM: Do you feel the band is finally getting the kudos it seems to have eluded for so long?
If you had to attribute the long hard battle Pentagram has had to endure on the path to
recognition to one thing, what would it be?
BL: Yeah and no. The money isn’t there yet but it’s nice to get recognition! It’s still very
underground, especially in the States but its growing and I’m very fortunate. Thank you all! All
great things are hard earned....and it’s been hard but we’re earning it. Boy, are we ever....
MM: What’s next for Bobby Liebling and Pentagram?
BL: We hope to see our documentary, “Last Days Here” released in the UK. New album in 2013
with our new guitarist. We hope to play as many festivals as possible, in the US and abroad.
There will be a European and US tour as well... see you then! Stay heavy and God bless!
M
M
facebook.com/
pentagramusa
An interview with...
TESTAMENT
In 2008 Testament released the crushing ‘Formation Of Damnation’ album, one that put them right back up amongst the top
metal bands. Then in 2012 they returned with such a powerful beast in ‘Dark Roots Of Earth’, just about everybody in the
music industry is praising the record and now Testament seem poised to steal back the Bay Area crown. On the second night
in of their UK tour, I find myself sitting comfortably inside the Testament night-liner (out of the harsh British winter cold)
talking about the bands newest release and finding out how the vibe in the band is these days; having a chat to the rather
down to earth guitar virtuoso Alex Skolnick…
Interview by Mark Freebase
As we chat about the weather outside whilst
making a steaming coffee Alex is quick to point
out he is from New York…
AS: So I’m used to the cold and weather here
actually, it’s not a problem for me, although it is
actually very much colder here in the UK at present.
MM: Tonight’s venue is the Wolverhampton
Walfrun Hall but the first time Testament hit
these shores was supporting Anthrax at the
Birmingham Powerhouse in the later 80s - all
those years ago - how does that feel?
AS: That was so long ago, I was very, very young
states the overwhelmed guitarist pointing out the
fact that time flies when you’re having fun. But I do
remember how small that place was, and a fun tour
for us.
MM: Moving onto modern day Testament, what
does the new album ‘Dark Roots Of Earth’ mean
to you personally?
AS: I like it… very much. As you may understand
these records are very hard to make… if you got
someone like a Sting (The Police) or a Hetfield/
Ulrich (Metallica) a very clear leader, it’s probably
easier, but with Testament we all have very strong
opinions and haven’t always agreed on direction but
this time around we were able to find stuff, a good
variety if you like, and in the past I have suffered
criticisms, but I really like for music to be interesting
he says with a genuine smile. I never tried to make
songs more accessible or commercial but it needs to
be listenable as well as heavy and intense and I think
this album is a great example of variety and diversity
without losing heaviness. There’s a combination of
slow moments, not ballads though, like the title
track, but then we definitely have the fast moments
also. I think the band is at its best when are creating
like this.
MM: So it was a more of a combined writing force
for this record then?
AS: Well when I came back, I’d been away for a
long time, and I was very respectful that they had
a system; they’d been keeping it going for a long
time. With the classic stuff I was one of the main
writers, but since I’d been away, well, when I came
back for ‘The Formation Of Damnation’ I wrote a
little bit, then this time I’ve written a little more and
I have become involved with the suggestions even
for stuff I haven’t written but I really had to make
a great old school collaboration between myself
and Eric within the guitars. ‘Formation…’ had been
the learning to put an new version of an old band
together again, where as with ‘Dark Roots…’ we’d
grown again and also the dynamics were different,
people’s personalities were different, technology is
different the way things are recorded etc and it was
a natural progression from what we’d learned from
‘Formation…’ there was definitely a lot more ‘in the
same room activity’ going down. It was all done at
the same studio and there was a lot more unity.
MM: Has anyone inspired your writing this time?
Is there anyone over the last few years that has
turned your head in a positive way or you’ve even
drawn ideas from?
AS: Well I go out to concerts occasionally and
I’ll get inspired by the feeling of being there, that
happened with Gojira; we were on the same bill as
them and their show was just great and that inspired
me quite a lot actually. I like some of the oddball
bands that a lot of people don’t get really… Dillinger
Escape Plan they get me excited. Other people
may think they are good at what they do, but seem
to sometimes go away scratching their head. The
Cavalera Conspiracy is a new band we all really like,
but those guys have been around forever, not as this
band, but that’s one all of Testament would agree on.
MM: Now that you’re back on the bus touring
again, together, how has the vibe in the band been
altered if any?
AS: Well there is no comparison in any way with
the band back then in 1986… everybody was kinda
stuck in adolescence back then and people hadn’t
found their identities - it was like being in school
with everybody having their insecurities and not
really knowing how to behave like adults! It wasn’t
really an adult environment he says releasing a
beaming smile. There is more structure now of when
people get up and go to bed etc and we aren’t afraid
to have our own routines. Back in the day Eric and
our original drummer Louie were known as Heckle
and Jeckle or Frick and Frack they were always
trying to outdo each other and they had the same
tastes, almost two of a kind whereas now I think
everybody has their own identity; we find that if two
guys want to go to a club or a shop then we’re not
all scrambling to get involved we don’t really care, I
mean occasionally we’ll all do stuff together but it’s
not necessarily a necessity these days. I was always
personally a bit more individual and now I like it
better as there isn’t any ‘cliquiness’ there’s a mutual
respect where we understand what each other needs.
We don’t necessarily have to have the same tastes…
and as time goes on in any band individual identities
come out.
MM: The reviews coming in for ‘Dark Roots Of
Earth’ have been phenomenal, in the UK, Europe
and the States, are there any areas that have
surprised you with the reaction to its release?
AS: Well overall it’s been such a great response,
we’re so pleased by that. I’m personally really pleased
that because of it we’re able to do more in the UK.
I feel that we’ve never gotten on the same page as
the UK since those early shows with Anthrax. We
always seemed to play London, but never tour, and
these last few years seem like starting afresh here
again and now it seems like you guys get what we’re
about. It’s now unthinkable that we’d do a European
tour without the UK being involved! The reviews
have blown us away here and that’s such a pleasing
position to be in.
MM:‘Dark Roots…’ is a place in Testaments
history that Alex seems really proud of, but that’s
not always been the case, as he did leave the band
for quite some time and I wanted to know what
triggered his actions, at the point of ‘Practice
What You Preach’ when the band was riding such
a high wave of success.
AS: It was probably by the point of about the fifth
album ‘The Ritual’ where it was getting different.
That record is a great record, but misunderstood I
believe. The band was also going through changes,
and personal changes were occurring and not
forgetting the whole musical scene change was
happening. I was thinking that I didn’t just want to
be identified by this band, no disrespect to the other
guys at all, but I was after some diversity. I played
one show with Ozzy Osbourne, in Nottingham
at Rock City, and he was between guitar players…
Ozzy hired me and Sharon fired me… she was really
“I was a musician that
wanted to be the type
who could do anything
and I had to make
changes.”
trying to make me into Zakk and that wasn’t my
thing. I was always the kind of nerdy guitar player
really. I was a musician that wanted to be the type
who could do anything and I had to make changes.
Also there were a lot of challenges that faced the
music scene around the time of ‘The Ritual’ and
things were not very welcoming with what was
going on in the world of heavy metal. The new wave
of Pearl Jam and Nirvana was changing things.
Personally I think those are great bands, and they
boast members who love metal, I remember seeing
a picture of Eddie Veddar wearing a Slayer shirt
when he was involved with the exposure of the
West Memphis 3 (the guys who were imprisoned
unfairly), and Mike McCready has been on ‘That
Metal Show’ to talk about his greatest metal
purchases and Dave Grohl is at every metal awards
show, but there was this amazing amount of gullible
media focus destroying and setting trends. My love
of jazz musician ship was increasing also.
Did the ten years of jazz playing work against
you or did you frequent audiences adorned by
interested metalheads?
AS: I would always get mixed crowds at my jazz
shows. World music also plays a big part of me and
a metal interest, I was lucky enough to become
involved with Rodrigo Y Gabriela and those guys
are from a metal background and we talked about
the diversity and power of what we were doing. They
understood where I was coming from. It was great to
combine the power and grab ideas from elements of
other music.
MM: So what have you noticed about the crowds
and the fans of music, has anything changed to
make a distinctly visible effect?
AS: It’s a big mix of ages now. This tour especially
you see different generations of families coming;
something I couldn’t have imagined back in the
day. There’s also a lot of older rockers coming back
out now and that’s a great thing. It makes sense and
for this type of music we can play with the younger
bands and the generation ages can enjoy all. I mean
back in the very early days of Testament when we
played with Priest the first time around, a lot of the
older Priest fans just didn’t get what we were about
but those barriers seem to be coming down now for
metal music especially. It will be interesting to see
what will be happening in twenty years from now.
M
M
testamentlegions.com/
It Ruined My Life
“What’s the one thing that changed your life completely, how did it
affect you and why did it change your life?”
I guess it would have to be when I fell off a three story roof and shattered my wrist . I was in my early twenties and music was all that I
was doing at that time and then it just stopped. I had to get a job so
I started slinging drinks in the bars and ended up as far away from
music as possible . 10 or so years later … I had become a different
person and I wasn’t digging it … so I quit my job on New Years Eve ,
burnt my tins and tip bucket and anything work related and started
to write songs and learn how to record them . I traveled around the
country staying with friends and eventually started working with
friends who were in bands and traveling all over the world. Taking
that plunge was the scariest thing , no , strike that , being back in
some of those bars would be the scariest.
Live your dream
addison Burns
The ship thieves
A wise man once asked “What’s in a name?” and after
when the music is as good as the tunes that these guys
have been cranking out consistently for more than a
decade, the answer has to be, not an awful lot. Ladies
and gentlemen, I give you The Careeners, formerly The
Grabass Charlestons, a band who let their music (and their
frontman Will) do all the talking…
Interview by Tim Mass Movement
An interview with...
The Careeners
(Formally known as The Grabass Charlestons)
MM: Right then chaps, let’s start at the beginning, would you like to both introduce yourselves and tell us a little about yourselves…?
Will: My name is will. I used to play drums in the band, now i play guitar. I sing and write the songs. I like baseball. I am a committed, professional cook
and washer of dishes. I have a small collection of orchids.
MM: Let’s tackle the “burning issue” straight out of the gate. You guys have recently changed the name of the band, so I was kind of wondering
why? Why change the name now? Is it like turning over a new leaf for the band, a fresh start, or is it going to be business as usual for you?
Will: Quite frankly, i got completely sick of saying the word “Grabass” out loud. It kind of embarrasses me. What seemed like a clever, provocative band
name 10 years ago just strikes me now as a bad, juvenile joke. Plus, with Ryan Quiney on drums, the band did feel completely new. I think we all agree that
the sound we have now deserves a better heading than “Grabass Charlestons.” so I figured we have the right to change names if we want to, right? So we are
The Careeners now.
MM: Time to put you on the spot chaps… For the uninitiated, how would you describe The Careeners? How would you sell (and by sell I mean
describe, obviously) yourselves to covert the musical heathens to your righteous cause?
Will: Well… I guess we kinda are the musical heathens. We’re just 4 guys who really like rock and roll, and try to play music how we’d like to hear music. I’d
like to hope that we’re just a good, honest rock band.
MM: Sort of loosely following on from the last question, what influences you guys, musically, as band and as individuals? Have the bands and
people that inspire and influence you changed since the band first started, and if so, do you think your changing influences have had any impact
musically?
Will: I must admit that I am truly a product of the 90’s indie/alt scene. That was the first stuff i called my own and as a songwriter, that style informs
me now more than ever. Most specifically speaking, Guided By Voices seems to have the most impact on me. But I grew up on classic rock, and still gain
immeasurable pleasure from bands like the Rolling Stones and Tom Petty and The Heartbreakers. Great bands and people come and go, but that stuff will
always stay with me. As far as where I take influences from nowadays compared to the past, I guess not much has changed. I can always find inspiration
in all the maniacs that constantly pass through my life. There are always good books to read and something bizarre happens almost daily in the restaurant
world. Musically speaking, I listen to almost no punk these days, but I’m obsessed with Nick Lowe.
MM: So, let’s talk about ‘Dale & The Careeners’… I know that it isn’t a concept record in the traditional old seventies hoary prog sense, but there is
a linking idea or theme running throughout the songs on the record isn’t there? Do you want to tell us what it is and explain for it for the folks out
there in MM land?
Will: A while back, I wrote a song called “Dale” that came out on a split with “Toys That Kill.” I think that was
the first time I ever used a fictional character in a song, and I liked it. I realized how easy it could be to write
about myself, my friends or certain issues through the story of a character and it’s a lot of fun to stick with one
character name over a collection of songs. it creates a broader narrative in the listeners experience, whether or
not the stories relate.
MM: And, sticking with the new record, what lyrical themes and ideas have you explored on the new
record? What inspires, motivates and fires you up lyrically? What makes you want to write?
Will: Thematically, I supposed we covered.. life, love, sadness, inspiration, disappointment, art, climate change,
hospitals, gas stations, baseball, drug addiction and finally, democracy... In that order. As for what moves me,
well, that’s just about anything. I’m blessed to live in a community of wierdos. And I mean wierdos of every
type. From the beautiful wierdos, to the tragic wierdos, to the scary weirdos, we got them all. They come from
all over and settle in Gainesville (and the Gainesviller’s who try to convince others that they’re not wierdos are
the biggest wierdos of all!) and I love it. I happen to be a person who’s curiosity leads me to explore or concoct
as many life stories as possible. And believe me, the stories write themselves. And sometimes, so do the lyrics.
MM: With you guys being a Gainesville band, and with Dave working for No Idea, you guys are obviously at the heart of the Gainesville scene,
a musical scene that’s famous the world over, so I was wondering, from an insider’s perspective, what is about the Gainesvile scene that makes it
special? What do you love about it?
Will: As I already mentioned, this place is a magnet for strangers. Wayward, alienated outsiders can find a home here. It’s cheap easy living, it’s laid back, the
weather is nice, and it’s a lovely little town. But I think there is a profound contradiction that exists in Gainesville that fuels the music scene’s vitality: there’s
a creative spirit and tradition about Gainesville, yet very little culture to support it. For the creative, exuberant youth, there’s almost nothing to do other
than hang out and party. And music is a perfectly accesible creative outlet for maniac kids who are hanging out and partying. And I am one of those kids.
One of those 36 year old kids.
MM: Likewise, following on from the above… How has the Gainesville scene changed since you first became involved, and, in your opinion, have
those changes been positive or negative? Do you think, in your experience as a touring band, that the same changes are happening in every scene all
over the US and by extension, the rest of the world? Or, do you think different scenes change in different ways according to geography and the bands
and people involved?
Will: The more things change, the more they stay the same. Every punk scene worldwide is dominated by the “young adult” demographic and
and young adults are predictable people that follow predictable trends that follow predictable cycles and so on. I suppose the real change would be the
mainstreaming of punk/youth culture. It’s brought a lot of us out of the shadows, for better or worse. As far as Gainesville goes, it always has been a very
myopic, self-involved scene. I guess it’s somewhat ironic that “The Fest” happens here, since most of the major players in the Gainesville scene couldn’t give
two shits about the breadth of the broader punk scene. Which is kinda cool, I think and the fest has definitely done great things for Gainesville, whether my
friends like it or not. It’s brought real visibility and legitimacy to or music culture inside and outside of our community.
MM: With over 550 shows played, has there ever been a time when you’ve thought about maybe slowing down, or even, heaven forbid, quitting, and
if so, what stopped it happening? What keeps you guys going?
Will: The slowing has already occurred. Dave has a kid on the way, PJ’s got a “real job,” and me and Ryan work like a thousand hours a week and have other
bands on top of everything. What keeps us going? The love, brother. It’s all about the love.
MM: What’s the strangest thing that’s happened to you guys while you were on tour or playing a show? Come on, spill the beans and share, sharing
is good, sharing is fun…
Will: It seems for me that the strange tends to induce amnesia for some reason. We like to get all liquored up and let the strange come to us and it’s been like
11 years, so there are honestly too many stories to choose from. And the stories are impossible to reduce down to a short version. There’s been accidental
meth binges, killing sprees, mystic spirit journeys, time travel, love, war, and exultation. It’s been like the bible.
MM: What’s next for The Careeners?
Will: We have a double ep coming out on SoundStudy Records sometime this year, but I fear that if anyone wants to see us play in the near future (or not so
near future), they’ll have to come to us.
MM: If there’s anything that you’d like to add, speak now or forever hold your peace…?
Will: The Tampa Bay Rays shall win the World Series this year. Mark those words! M
M
An interview with...
The
Mervyn
Stone
Mysteries
It was only a matter of time until Mervyn Stone
made the transition from the written to the
spoken, and with the countdown to the release
of Mervyn’s first audio adventure gaining
momentum, Mass Movement caught up with
Nev Fountain, John Banks and Nicola Bryant to
find out all about Mervyn Stone and what lies in
store for him in ‘The Axeman Cometh’…
Interview by Tim Mass Movement
MM: Right, every good story has a beginning, so where did Mervyn’s start? Who is Mervyn Stone and
why does trouble always seem to find him?
NEV: Mervyn Stone used to be a writer. More specifically, he used to be the script editor of a long-dead
science fiction TV show that got cancelled about twenty years ago.
The show, Vixens from the Void, was a saga of huge-breasted women in leather space suits. It’s dated horribly,
and doesn’t look like it’s going to be revived anytime soon.
Mervyn has also dated horribly, and needs a bit of reviving himself. He exists in that twilight world of old cult
telly, cheap, late-night documentaries, autograph signings in cramped comic shops, DVD commentaries…
He goes to the same conventions every year, telling the same anecdotes a thousand times over, like
Scheherazade with only eight stories.
Mervyn as a character started about ten years ago. I always had a yen to write a murder-mystery novel, and I
had a feeling I could do it, so I sat down one day, with no real plan about how it was going to turn out, and
started writing.
I decided to ‘write about what I know’ as the saying goes. In the years 2000-2003 I had attended a lot of
conventions as part of my brief fame being involved with the Doctor Who: Death Comes to Time webcast
(starring Sylvester McCoy), and was fascinated at what incredibly weird events they were; so I thought a sci-fi
convention would be an excellent setting for my book. It’s such a rich, incestuous place, with buried secrets,
scandals and rivalries, filled with sociopathic actors, writers, directors and fans. I really don’t need incredibly
far-fetched reasons for bodies to fall at Mervyn’s feet. Everywhere I take him, there’s always a real-world
situation I can call on from memory and say, ‘Yes, this could potentially lead to someone getting bumped off ’.
In devising a detective for the book, I looked for inspiration in detective fiction; I am a fan of the Charles
Paris books (murder-mysteries starring a down-at-heel actor), so I created an amateur detective slightly
in his image; a careworn writer trapped by his career, not quite famous, but not quite anonymous. More
importantly, he would be able to mentally step outside the madness, observe it with a writer’s eye, and use his
script editor’s brain to solve the murders.
It was only after I started the first book (Geek Tragedy) I realised that Mervyn would have potential for a
series; mostly because I had got bored with the first book as I hadn’t planned it properly! So before book one
was finished I started book two (DVD Extras Include: Murder) and, when I got the commission to write the
series, I started book three (Cursed Among Sequels), completing that book in two months, then going back
to books one and two, finishing them last.
MM: So, Mervyn is making the transition from literature to audio drama… Was that always the plan?
Debut in the novels, and then move over to audio, or was it fairly recent idea, and whose idea was it for
the character to move into the realm of audio?
NEV: No, there wasn’t really a plan like that, but I guess it was always on the cards as Big Finish was primarily
an audio company. Mervyn for me is a book range, but I’m very happy to be very ‘multi-platform’ in
promoting them. We’ve already done a podcast adventure and a twitter story.
Around the time of the launch of the books, David Richardson suggested doing a full audio story. He
suggested it would entice Big Finish consumers who weren’t natural readers to get tuned in to Mervyn. I
was reluctant at first, because I had just written three novels and, quite frankly, I was a bit knackered! But
gradually I became more enthusiastic about the idea and agreed to write one.
MM: Nev, how difficult or easy was it to transplant Mervyn from one format into another and as
different formats have their own individual challenges, what were the biggest challenges, if any, that
you faced when writing the first audio Mervyn Stone Mystery?
NEV: Mervyn himself wasn’t a problem, as we’d already done a podcast, but the task of doing a murdermystery story, with two actors on a two-disc format (the format suggested by Big Finish) seemed utterly
impossible to do. How do you create a good number of suspects with a cast that size? How do you keep the
tension going if it’s obvious that it’s only two voices being heard?
I started it several times, and three different ideas crashed and burned (I hope that one of those ideas will
eventually see the light of day as a MS novel).
One idea I tried was setting it on a sneering late-night TV show, What Was That All About?, devoted to
reuniting the casts of old TV series, and Mervyn and the other Vixens characters would be guests, hired to
be laughed at. That proved problematic because of the number of voices needed, and it felt a bit too like
the podcast. Most importantly, the sniggery host dominated the script, and it just felt too unpleasant.
Another major problem for me was Vanity Mycroft. I knew if Nicola was involved I had to use Vanity
in some way. How to reuse her character that would contribute to the plot rather than a retread of Geek
Tragedy? I tried several ways to do this, including writing half from Mervyn’s point of view, half from
Vanity’s, but again, that proved another brick wall.
It was only when I gave up on the two-disc thing and suggested writing a single-disc adventure instead
that I was able to go back to my first idea – the best one, in my opinion – and finish it. That idea was The
Axeman Cometh.
Fortunately I was blessed with John Banks and Nicola Bryant, who are two of the best Big Finish
performers for creating multiple characters in the same story. John does it all the time, and he’s always in
demand to pad out a small cast, and Nicola did a brilliant job in Peri and the Piscon Paradox, breathing life
into a multitude of roles and making the listener care about all of them.
MM: How much, if at all, did Mervyn’s character and the world in which he inhabits have to change
in order to ensure that he’s both introduced (so that anyone unfamiliar with the character can
automatically make some sort of connection with Mervyn) in The Axeman Cometh and, at the same
time, hits the ground running as the particular set of events begin to unfold…
NEV: I think my decision to ultimately write the whole adventure in the first person, from Mervyn’s point
of view, made the audio feel fresh and gave it pace; by having Mervyn telling the story as if to strangers, the
story unfolds much quicker. But in any case, the world of dead cult TV shows and devoted fandom is
already familiar to a lot of people; it’s not like setting up a wholly invented world, like Ankh-Morpork.
But in focusing on a particular aspect of Mervyn’s world, I made a deliberate decision to tailor the story for Big Finish
audio listeners. I had art imitate life. Just as I was invited to write an audio for Mervyn, so Mervyn is also invited to
write an audio CD of Vixens from the Void.
I’m giving Big Finish listeners something very familiar and personal to them, because I learned that when we did
Dead Ringers for radio, the more they felt that the comedy was directed to their own obsessions, the more they loved
it. The fact that we noticed the same amusing things about The Archers and Woman’s Hour as they did encouraged
them to hold us in great affection.
MM: John and Nicola, how did you initially become involved with The Mervyn Stone Mysteries?
NICOLA: I was involved from the moment the books were taken up as a commission. The Christmas that Nev got
the ‘yes’ from Jason Haigh-Ellery, he came home and started writing at the kitchen table, and I read every word hot
off the press.
I was immediately drawn to Vanity. She’s a larger-than-life character in the old-school style of actors. If Nev hadn’t let
me play her I would have killed him…! In the library with a jam spoon…
JOHN: The first conversation I remember having with Nev about his ideas for Mervyn Stone, probably took place
in early 2010. We were driving down to Surrey and during the journey, Nev told me that he was writing three novels
featuring a character called Mervyn Stone, that he had me in mind during the writing process and would I agree to
having my photo on the dust jacket of the books? The idea being that I, as Mervyn Stone, was the author. Of course I
was both flattered and intrigued, although initially, as far as I knew, having my image used on the cover was to be the
limit of my potential involvement. The books were still in the publishing pipeline and other than what Nev had just
been telling me, I knew nothing more about the project. A while later, Nev wrote Whatever Happened To Babel - J?,
a Mervyn Stone Mystery not featured in the novels, which was to be recorded in May 2010 and released via the Big
Finish website as a series of seven short podcasts. At that point, Nev asked if I’d like to play Mervyn and Lawrence
Warwick in the recordings.
MM: Nicola, I’m assuming you’ve probably been closely involved with the development of Vanity since her inception, so was she a character that you always wanted to
play? Is Vanity a difficult character to bring to life or, given your familiarity with her, was it an easy role to step into? Why?
NICOLA: I don’t think it’s fair to say that I was involved with the development of Vanity – it’s completely Nev’s character – but it’s fair to say I wanted to play her since I read her.
She’s a dream role. There are a couple of very specific people I think of when I perform Vanity – who I will not be naming! I’ve certainly met a few Vanitys in my time and therefore
it was an easy part to feel at home with, and such a rich opportunity. She’s quite a difficult part to drop – after finishing the recording Vanity accompanied us all the way back home
– darling!
MM: John, were you familiar with the books before you were cast, and how did you react when you found out that you were going to be Mervyn Stone? How, if at all, do
you think your portrayal of Mervyn differs from the Mervyn of Geek Tragedy, DVD Extras… and Cursed Among Sequels? Did you use the character as he appears in the
books as a solid blueprint, a jumping-off point, or as reference material only when it came to bringing Mervyn to life, albeit as a character in an audio drama?
JOHN: For me, Mervyn has always been an audio character. There was very little discussion about how he should be played, so I performed the script pretty much as it occurred to
me, without reference to the books, which hadn’t at that time been published. Nev was present during recording and seemed to approve of what I was doing and I remember that
we all had a fun day in the studio.
MM: So, what can each of you tell us about The Axeman Cometh? Oh, and a as matter of chronological curiosity, in your opinion (even though Nev has the final say), do
the events of The Axeman Cometh take place before, during or after the Mervyn trilogy?
NEV: Mervyn is summoned by a mysterious letter enticing him to prevent a murder. He is told to go the Sounderama studios, where a recording of a Vixens from the Void audio
drama is taking place. He spends a lot of the audio wondering who the murderer might be.
He is reasonably certain who the victim might be; in the very next studio there’s Phyllis Trilby, the TV boss who axed Vixens from the Void in 1992, recording her autobiography.
Everyone has reason to hate her, including Mervyn…
Axeman is quite definitely set after the three books. As you can see by the mysterious letter, Mervyn has developed a reputation as an amateur sleuth, and the plot hinges on that.
NICOLA: Yes, it’s definitely set after the trilogy, and we can see that Vanity has developed not one iota as a human being!
JOHN: I can’t really say very much about The Axeman Cometh for fear of giving away some vital clue! What I can say, is that Nev has once again devised a fiendishly inventive
story, with all the twists and turns that any fan of crime capers could possibly want!
NEV: It doesn’t rely on knowledge of the novels, but I was surprised when looking back at the script that no less than six characters from Geek Tragedy turn up! But as four of
them were extremely minor characters, it creates a pleasing connection with the books without overwhelming it with continuity.
MM: How did the recording go? Was it fun and did it run smoothly, or did things go the usual way they do when Mervyn’s involved in anything…? Apart from the
murders of course…
NICOLA: The recording was very enjoyable. I was very disappointed when it came to an end. I hadn’t worked with Patric Kearns (the director) before but he seemed very good.
He definitely had a good feel for Mervyn.
NEV: I thought it was great. It was a very pleasant, relaxed day. John lives quite close to Nicola and I so we had time to do a read-through before the recording day, and we were able
to travel to the studio together. I didn’t have that extra tension that writers feel when they meet a group of complete strangers in the green room and wonder what they’re going to
do with your script, whether they’ll do a wonderful job or just shred it. I already knew it was going to go well.
JOHN: Recording The Axeman Cometh was indeed great fun and, despite a gap of almost three years since Mervyn told the story of Babel-J, playing the character again felt both
familiar and comfortable. Of course, that’s primarily a testament to the quality of the writing and Nev’s astonishing thoroughness and attention to detail.
MM: As all three of you are involved in the world of fandom, how closely do the events that take place in the books resemble the reality (again, apart from the body count)
of conventions, film and TV sets etc.? Too close for comfort, or vastly exaggerated? And what are the strangest things that have either happened to you, or have you been
asked to do, while appearing at a convention?
NICOLA: Everything within Mervyn Stone’s world is completely recognisable. Nothing seems twisted out of shape. However, I can’t say that everything that’s happened to
Mervyn has definitely happened to me!
I would say the weirdest thing that’s happened to me is that someone asked me to sign their hairy bottom! They were going to have my name tattooed on their buttock and they
needed a guide track!
NEV: There’s really no need to exaggerate, and if you do, it just rings hollow. There’s already a heightened sense of reality, and there’s no point building on it.
Fans themselves come up to tell me they think it’s very accurate. What amuses me is the one aspect of the book they
quibble with is the fact that Mervyn gets laid so easily!
There’s the one incontrovertible truth! There are always young fans willing to sleep with crusty old men and women simply
because they were once involved in a television show. It’s like collecting autographs.
JOHN: I’m very new to the world of fandom and so far, two of the four conventions I’ve attended have been specifically
Big Finish events. And of course, as everyone knows, Big Finish fans are amazing and I’ve thoroughly enjoyed the
opportunity of meeting and chatting to people – Mervyn’s experiences at such conventions are mercifully rare!
MM: Now that it’s ready to go and your parts in the process (for this initial story anyway) are over, how do you feel
about The Axeman Cometh?
NICOLA: I’m excited about it. I can’t wait to hear it. I think it’s the most perfect story for all those Mervyn fans who’ve
missed his presence, and for anyone who wishes to start appreciating Mervyn and his Mysteries.
NEV: I’m very pleased with it. Most writing for me is an exercise in problem solving, and Axeman had a lot of problems to
work out.
I like it because it’s a different type of murder-mystery, as distinct from the books as the books were from each other. There
would have been nothing worse than an audio retread of Geek Tragedy.
JOHN: The Axeman Cometh is a terrifically original and inventive story, which sets an incredibly high standard for
whatever might come next. I’m thrilled and delighted to be playing such a fascinating character and I hope there will be an
ongoing series of Mervyn Stone Mysteries.
MM: So, where and what next for Vanity Mycroft and Mervyn Stone? What other adventures await them…?
NICOLA: I have no idea what the future holds. I just know I enjoyed playing Vanity immensely, and I hope to do so in the
future.
JOHN: Who knows where the stories or Mervyn might go from here? Over to you, Mr Fountain!
NEV: I have three more books plotted in my head, of which Vanity will definitely appear in two. After that, I will
definitely bring Vanity’s story to a close. Infer from that what you will! M
M
Whoever said “You should never meet your hero’s” was wrong.
Very, very wrong. About six weeks ago, I spoke to one of my
hero’s, Neal Adams, about…Well, about a load of different things,
and he was one of the warmest, friendliest and funniest guys
that it’s been my honour to talk to. Ladies and gentlemen, boys
and girls meet a living legend, meet Neal Adams…
Interview by Tim Mass Movement
An interview with...
Neal Adams
MM: How did you get your first break in comics
and do you think it’s easier or tougher for people
to break into the industry now than it was when
you did it?
NA: It’s a lot easier now, but when I broke into
comics, everybody I spoke to within the industry
was telling me that comic books would be out of
business within a year. I went to Archie comics;
there weren’t many comic books out back then.
There was basically DC, Mad Magazine and there
was Harvey comics, I had no idea who they were,
so Archie comics - I really didn’t know where
they were – they were in some hole in the wall at
the beginning of Brooklyn. I went to DC and I
couldn’t even show my stuff, they would not look at
it. There was this guy called Bill Perry, he came out
and said “Do yourself a favour, get a job. Don’t do
this because it will be gone within a year”. I don’t
know anybody who would tell you a story like that
about their business, whether or not they give you
a job, if they don’t like your work it’s a different
thing; but they don’t talk like that anymore. Jack
Kirby and Joe Simon you may know were at Archie
comics, doing the Fly, the Shield and a couple of
other comic books. So I finally found out where
Archie was and asked them if there was anyone
who could talk to me and see my stuff. They said
Jack Kirby and Joe Simon come in on Wednesday,
otherwise they stay home. Why don’t you come in
on Wednesday to talk to them because your samples
are pretty good. So I went in the next Wednesday
with more samples and they weren’t there. So I
went in the next week on Wednesday and I had
more samples and they weren’t there. So finally
I went in a third time (I would have kept going
forever), and the guy said they’re not here but why
don’t I get Joe Simon to phone you. So then there
is Joe Simon on the phone and he says “hey kid I
saw your stuff it’s pretty good but you know, I gotta
tell you- I’m gonna do you the biggest favour I
could possibly do you, and remember this because
it doesn’t sound good right now, but believe me this
business is going to be out of business in a year and
I’m doing you the biggest favour in the world. I’m
turning you down despite the fact that your work
is good, I’ll be destroying your future and I don’t
want to do that. So I turned around and I must
have looked like the Empire State building had
fallen on me, and the Archie guy said “Maybe you
wanna draw Archie?”. I didn’t want to draw Archie
but that’s what I did, I drew the Archie joke pages
for $35.50 a page for writing, inking drawing and
lettering, and that was my first comic book work.
MM: So let’s talk about the new one, the First
X-Men. What made you want to work on X-Men
again?
NA: I spoke to the Marvel people and they were
interested in having me do some stuff for them and
they said “what are you interested in doing?”. I had
an idea for a story so I wrote it out and the idea was
for a story about the X-Men before the X-Men.
Because the first time you see the X-Men they are
fully formed, with professor X in his wheelchair,
seven kids standing around him in funny costumes
and that’s how X-Men started. But something
must have happened before then. Probably people
thought they were aliens but eventually there were
these people who were ultimately taken advantage
of, they were captured and experimented on by
the army and whatever. Why wouldn’t someone
round them up and try to help them out well before
the X-Men ever happened? So I wondered who
would be old enough to do that. And the oldest one
around, pretty much is Wolverine- he’s about 120
years old. So I proposed that we do it with the
Wolverine being the guy that would round up these kids that were suffering the slings and arrows of
outrageous fortune of the military industrial complex. Wouldn’t he be the right guy to do it? Well the
truth of the matter is that he probably was the right and the only guy. Unfortunately Wolverine is kind
of a mercenary and a warrior and what could he do for these people? He can train them to fight. But
unfortunately what happens when you fight is that you die, which is not a good scenario. So I suggested this
was actually a pretty good plot for a story and they agreed, so we’re extending the legend of the X-Men back
in time but it was a good series.
MM: Are you going to do another X-Men series?
NA: I don’t know. I’m talking to them and settling some issues. I’m kind of talking to DC comics as well..
When I came back I did Batman, then I did X-Men, what do I do now? So I’m kinda talking to DC, I’m
kinda talking to Marvel and we’ll see. We also have our own characters which we stopped publishing when
things got hard in the comic book business and 1500 stores went out of business because collectors had
decided to get into the business and to buy comic books and put them away for five years, then one day they
all woke up and realised that if they were all doing this how were they ever going to make money? Then they
all stopped and then Bam! The industry crashed and 1500 comic book stores went out of business. As a
publisher I thought I’d rather not stay here so I closed up shop and we went back to doing a lot of advertising
and things like that. I told people though that when things started to get a bit better I’d be back, because I’d
started a project called Rise of Magic and it was a pretty good project, people kind of liked it, people were
waiting for it, but with things so bad I put it aside. We continue to do some work on it from time to time
and it’s sitting on a shelf waiting to go, so we’re considering whether to put it out ourselves or whether to go
through someone like Dark Horse. Meanwhile as a separate artist thing, I’m looking for another project and you look at me and think “Well, he’s done Batman, he’s done
X-Men what’s he’s going to do next?”
MM: It’s got to be Green Lantern, with Jeff Johns leaving?
NA: If was right, and available I’d be on it…
MM: You’ve done Green Lantern before, and Green Arrow…
NA: I did, I did, and I’m not convinced I want to jump in to the many splendored, many coloured green lanterns – although it does seem interesting – I think it’s kind of
what took the Green Lantern movie down, didn’t it? All that CGI, in terms of my personal interest…. So I don’t know that that’s where it’s where I want to go. Also there
are a lot of good guys working on it? Where’s the challenge? There are some things lying around, maybe Superman? What about a Superman that’s kinda like what Frank
Miller started? It kind of intrigues me.. what do you do with Superman if you want to amp him up just a little bit? Then there’s the Avengers too.. so we’re talking and we’ll
see what comes up. Whatever I do it will be in a slightly different direction but not hurting anything. It will be a surprise. Right now I’m doing the Cold Blood for Dark
Horse, I’ve just finished the last chapter of the first book. So to me , I’m kind of like a fan myself; I did a Batman odyssey that provoked a lot of controversy with some
people and had a tonne of fun doing it. I got a tonne of abuse about it on the internet even though I announced I was going to do a novel rather than a series of stories.
People on the internet were saying “Oh I don’t understand the first story” – It’s not a first story, it’s the first chapter of a novel!! It’s a novel you’re not going to understand
what’s going on until the last chapter!! What I did was, at the time, I didn’t respond to it. People told me to just ignore it and pay no attention, but that doesn’t even sound
like Neal Adams! You don’t have a go at Neal Adams and not expect him to come back at you. I don’t do that. But I let it go, and DC comics didn’t talk about it or promote
it and I just let it happen, like a jerk and I could have just as easily come back to people and said, hang on, let’s talk about it. But I let it go, and now I have people come up to
and, leaning over, whisper to me “I loved Batman Odyssey” as if someone’s going to come up
from behind and say “What? You wrote Batman Odyssey what’s wrong with you? I get these
13 year old fans contacting me and saying “people go on about these and how terrible they
are but I just read them and I thought they were great, what’ going on? what’s it all about?”
The poor kid is very confused about what’s going on. My coming back was by doing what I
considered to be the best stuff I’d ever done and people reacted in this weird way. So I moved
forward in time by doing something that was terrific but I didn’t move forward in time by not
attacking back when they were attacking me. That’s my mistake. That’s not going to happen
again. So what’s happening now is that I have these people coming to me about Batman
Odyssey, saying they like it because it’s like a book and the last chapter blew them away. And
guess what, do you think all this stuff is going to sit there and nobody’s going to turn them
into stories? The whole concept will be exploited, the underworld will be exploited, the
whole thing. Someone’s going to do it. It won’t be me because I think I’ve done it? You’ve
got loathsome trolls, you’ve got another Batman living under the earth, it’s all there. I’m
thinking two movies from now I’m going to see that story. There’s all kinds of stuff there
and it has this underground fan following, which means people are already working with it.
There are at least two radio shows that are effectively doing Batman Odyssey, its crazy. I have
to sit back like a fan and say Oh yeah , that sounds like Adams, in trouble again, better watch
out!
MM: You’re credited with having introduced realism into comics along with Denny
O’Neil with your run of Batman in the 1970s then again, Green Lantern and Green
Arrow..
NA: I’m not going to criticise Denny because he was a great partner when we worked on it,
but I first developed this with Bob Haney. I changed Batman with Bob Haney. Then the
editor of Batman was saying why is the only Batman we’re doing is Brave and Bold? He came
at me with a whole bunch of letters from fans talking about it and saying Batman should be
more like Brave and Bold. So they put me on Batman and they told me they were going to
pair me up with Denny who was a journalist. I agreed to give it a try and it went from there,
so I had to leave Bob Haney behind over at Brave and Bold, but he was fine there and doing
good work. Then Denny started working on my Batman and he turned out to be a pretty
good writer and because he was a journalist, he wrote a more down to earth story, so we had
a good time and started to crank out some good stories. But I never want to take any credit
away from Bob Haney, we did 7 books together. That really was the turn, Denny just jumped
on and made in better.
MM: The Green Lantern/ Green Arrow run you did was maybe 11 books? It’s widely
credited with bringing a sense of realism into a world of books that are anything but
realistic..
NA: It almost happened by accident. Gil Kane had been working on Green Lantern and was doing a bang up job on it.
He had an incredible way with anatomy and had the characters virtually flying off the pages. He was going to go on to do
a thing called Black Mark, a graphic novel, and I saw they were hiring guys to do Green Lantern and each new guy would
make it worse. Finally I went to the boss and said that I’d like to do Green Lantern some day, and he said to forget about it
because it was going to be cancelled in a couple of days. I asked him to give me whatever it had left, even if it’s only one or
two issues, I’ll do it because I think I can bring something to it. Maybe it won’t go down the tubes. He said OK, what about
if we use Denny on that too? It almost didn’t matter to me because I wanted to do this. People had been recognising that
the stuff I’d been doing was more realistic, and Denny and I had an opportunity to create something. Denny had been going
a little deeper into his newspaper background and he was really enjoying this because America was always involved in a lot
of politics, a lot of liberal responses and Denny was there. Now I wasn’t quite as crazed as Denny, but I was the Chairman of
an organisation down in the Bronx and we used to get involved in politics there, so we started doing these books and college
students were writing in, college professors; it was like the adult world had suddenly realised comic books existed. Carmine
Infantino, who didn’t quite know what we were doing, ended up doing a speaking tour across America about Green Lantern/
Green Arrow we had to fill him in . So we did about elven books. We kind of run out of steam at the end when Denny
wrote a story about overpopulation – a liberal favourite at that time – I thought: we don’t want to step into that whole
overpopulation thing. If that’s all we’ve got I think we’ve shot our load. It was hard to draw and hard to deal with. Finally I
did this cover and took it in, thinking we were winding down and it will never be used because it’s against the comic’s code, but it should be used. I took it to the boss and he
kind of dropped it like a hot potato. So we took it to the executives, same reaction. So we said “Why don’t you take it to the comics code see if they will accept it?” “They’ll
never accept it, what’s wrong with you?” During this debate that was going on at DC, I was out of it because I’d clearly gone mad. Not only were they not going to pay me
but they were actually going to suck money out of me for coming up with such a crazy idea. I go over to Marvel as a relief and speak to Johnny Romita, who is working on a
book who, according to the story there is a character “who is popping pills and jumps off a roof ” I said “Gee, Johnny, I don’t think Stan knows much about drug addiction,
and if someone pops some pills and jumps off a roof I don’t know if a drug addict would do that?” Johnny said “ The thing is I think Stan’s gonna run it. It got rejected by the
comic’s code” so I thought he’s not going to do it, but Johnny said “He’s going to put it out. He went to his uncle, the publisher and said he’d like to run it without the comic
code seal.” I said that was great, if he was really going to run it. And he was. It was a Spiderman book. Two weeks later I go back and ask what happened. Johnny said “It went
out, and nobody said a word. They didn’t even perceive that the seal wasn’t on it.”. So when I go back to DC there is a panic, the shit had hit the fan. They were going nuts,
because they had this cover, they could have done the same thing but Stan had scooped them. The comics Code had been put together by the publishers originally, so within a
day or two they had called up a meeting of the comic’s code committee and within a week or so they rewrote the comics code. Then immediately it came back DC said “Okay,
do that book!” so we got the book out. The comics code changed so much that it became a waste of time, and they essentially just forgot about it. I’d love to take credit but it
just disappeared and no-one even noticed…
MM: With nearly 5 decades in the industry, are there any writers or artists you haven’t worked with yet who you really want to work with?
NA: There are a whole bunch of guys. Back in the day, I worked with Roy Thomas at Marvel Comics who provided some of the best dialogue that I could possibly want. At
DC I got to work with Bob Haney and then Denny O’Neil. So I essentially got to work with the best people at DC and Marvel. Then we have to jump forward in time. I was
going to do the Batman with Frank Millar but I opted out of that because I was busy at the time, but now I have this whole roster of great writers that I could possibly work
with. I could write it myself but the energy it takes to switch off is too much. So far the two stories I’ve done are my stories but there are a bunch of writers, all of whom would
like to work with me, who I can choose, so I have the pick of the crop don’t I? M
M
REVIEWS
AUDIOBOOKS
Bloodspire & Deathwolf – Written by CZ Dunn & Andy Smilie & Performed by Sean Barret, Rupert
Degas, Chris Fairbank, Charlotte Page & David Timson – CD / Download (Black Library www.
blacklibrary.com)
So, for the second time in as many months, I’m greeted by two separate tales of Space Marine Glory by
Dunn and Smilie, stories about men (post human or not, they still fight for the Empire of Man and while they
fight for humanity, they’re still men) forged on the battlefield, men once again sent into combat to ensure the
continued glory of the Emperor and the safety of all that he holds dear and represents. Dunn’s ‘Bloodspire’
centres around the Blood Angel’s and their assault on Axonar, a world that has defied the Emperor’s will by
their refusal to supply the Imperium with any more Pyskers, a refusal that led to the Blood Angels arriving at
their door In order to bring them back into compliance. As battle commences, Dunn uses the different aspects
of the campaign, the ground and aerial assaults and the stealth attack of the scouts to highlight the divisions
and differences, (how they see the conflict according to their position within the chapter and their individual
ideas of honour and glory) between the Marines of chapter, which allows the personalities of each of the main
characters to flourish and develop while allowing the listener a glimpse of the internal hierarchy of the Blood
Angels as they storm the city and punish it severely, a punishment felt for generations to come, for challenging the will of the Emperor. ‘Deathwolf’,
by Andy Smilie, is a much more direct story of fealty to the Empire, as the Space Wolves fight off a planetary invasion by the Dark Eldar, and feels
like a forgotten gung-ho Alistair Maclean masterpiece, as the bolter rounds fly, fist and sword drink deep of alien viscera and the corpses mount up,
leaving behind the wreckage and devastation of a routed enemy, but even as the battle draws to a close, the open ending tantalisingly promises us
that there’s more to come, far more, and that boys and girls, is a prospect that I relish. The only thing better than a story of Marines earning honour
and glory in the far future, is two stories of Marines earning honour and glory in the far future, tales soaked in blood, guts, gore, war and more. War
may be hell, but it’s my kind of hell… Tim Mass Movement
Doctor Who: Devil In The Smoke – An Adventure For The Great Detective Recounted by Mr Justin Richards & Read By Dan Starkey – CD
/ Download (AudioGo www.audiogo.com/uk)
By Jingo, this ‘Devil In The Smoke’ business is a right rum to-do and no mistake, but fear not, for the Great Detective is on hand to sort out
the nefarious shenanigans, clean up the no good goings on and send those bally alien chappies packing quick smart. Gad, lawks and…Uh,
gadzooks? Right, I appear to have exhausted my Victorian lexicon, which is probably a good thing as I’ve been halted in me tracks before
becoming the worst sort of nonsense spouting, moustache twirling villain. As you may well have already surmised, ‘Devil In The Smoke’ is set
during the closing years of the nineteenth century and takes place in the cobbled, over-crowded streets of London, but strangely for a Doctor Who
story, doesn’t feature the Doctor at all. Instead, it’s left up to Madam Vastra (the Great Detective referred to the in the title), her companion Jenny
and gentlemen in training and former (although how much former is debateable as you know, Sontarans, weapons, death and destruction, they’re
sort of inseparable in the same way fish fingers and custard are, and biological and genetic imperatives being what they are…Well, it’s just a
matter of time really isn’t it?) killing machine, Strax to investigate murder, body snatching (actually, it’s more like identity theft, but body snatching
sounds much more dramatic) and alien invasion, a task that they more than admirably rise to. It’s a tough gig, writing a Doctor Who story that
doesn’t actually feature the Doctor, but Justin Richards action packed, humour laced tale does the seemingly impossible and makes the listener
forget that the Doctor should be present, utilising the characters to such great effect that it’s instilled a sense of hope that ‘Devil In The Smoke’ is
just the beginning for The Lizard Woman, The Troll and The Parlour Maid. But, as good as the story is, the real revelation in ‘Devil In The Smoke’
is Dan Starkey who delivers an incredible, multi-faceted reading, one that singularly brings the entire cast of characters to vivid, wonderful life,
proving beyond any shadow of a doubt that from little Sontarans mighty Who Legends grow. Jolly good show… Tim Mass Movement
Doctor Who: The Companion Chronicles: The Flames Of Cadiz – Starring William Russell and Carole
Ann Ford & Written By Marc Platt – 2xCD / Download (Big Finish Productions www.bigfinish.com)
As the sixties ended, and during the Second Doctor’s tenure, one of the mainstays of ‘Doctor Who’, the
historical adventure, was all but consigned to oblivion, and bar a few attempts to mix the aforementioned
format with the science fiction basis of the show (‘The Time Warrior’, ‘The Visitation’ etc.), the historical stories
that had helped Doctor Who find its sense of identity were abandoned and, rather ironically, became history.
However, there was always something special about the historical adventures, and so when a new chapter
in the format that helped make the show famous arrives, I always feel like I’m five years old and have just
been let loose in the pick and mix department of Woolworths. Excited, anxious, filled with nervous energy and
eager for the fun to begin. ‘The Flames Of Cadiz’ finds the Doctor, Susan, Barbara and Ian arriving in Spain
at the end of the sixteenth century, a time of terror and suspicion as the Inquisition, fed and fuelled by church
corruption, bigotry, avarice and greed, holds the country and it’s populace in an iron grip of fear. Ian, of course,
immediately falls foul of the Inquisition and finds himself condemned for heresy, which sets in motion a chain of
events that end up involving The Doctor and his companions in the war between England and Spain, propelling
them toward a meeting with Francis Drake prior to him launching his infamous attack on Cadiz harbour with the fate of established history hanging
on their every action, Ian, Barbara, Susan and The Doctor have to balance doing what they know is right and doing what is necessary to preserve
the timeline. Or so they think.. Confused? Don’t be, it’ll all make sense when you listen to ‘The Flames Of Cadiz’, and believe me, you will, if
you’ know what’s good for you, end up listening to it. Wonderfully written, and filled with beautiful little touches that would inspire Panza to create
the most eloquent of Sanchismos, and superbly performed by William Russell and Carole Ann Ford, ‘The Flames Of Cadiz’ proves beyond any
shadow of a doubt that there’s still a lot of life, if placed in the right hands, left in the abandoned, and much loved, format. Damn good fun…
Tim Mass Movement
Doctor Who: Destiny Of The Doctor: Shadow Of Death – Performed by Frazer Hines & Evie Dawnay & Written by Simon Guerrier – CD /
Download (Big Finish / AudioGo www.audiogo.com/uk)
There’s just no escaping the fact that there was something incredibly special about the Second Doctor, something magical that helped cement the
Doctor’s place in the annals of Science Fiction and in the imagination of fans the world over. ‘Shadow Of Death’ takes a perennial Who favourite
plot, the base under siege, and expands it until it evolves beyond its original theme, becoming something completely different. But as I’ve said
before, different is good, and as far as ‘Shadow Of Death’ is concerned, different is very good. After being forced to land by the incredible energies
of a Pulsar, the Tardis crew find themselves in a man-made base on an “Impossible Planet” (it’s close enough to work, no, trust me, it is), a planet
locked in orbit around the aforementioned Pulsar. A planet ravaged by the gravitational forces of its star, where time isn’t a global constant and
despite the fantastic odds, appears to have been home to an ancient civilisation, a civilisation whose ruins are now being explored by humanity.
But the archaeologists, the human explorers, are being killed by something from outside the base, something completely and utterly alien, and the
explorers only hope of preventing it wiping out their entire expedition lies with The Doctor and the crew of the Tardis. Superbly written, with a plot
that also seems to defy time, cramming far more into the story than you’d ever believe was possible, and performed (Frazer Hines impersonation
of the Second Doctor is uncanny, I’d swear he was channelling Patrick Troughton if I didn’t know better), ‘Shadow Of Death’ is an intriguing second
part of this on-going story arc, revealing tantalising clues to the series overall direction without giving anything away, yet at the same time is a
wonderful, standalone story. Doctor Who at its absolute best… Tim Mass Movement
Doctor Who: Destiny Of The Doctor: Vengeance Of The Stones – Performed by Richard Franklin & Trevor Littledale & Written by Andrew
Smith – CD / Download (AudioGo www.audiogo.com/uk)
All things have their time and place; somewhere they belong, and in some rare cases, even someone they belong to. ‘Vengeance Of The Stones’
wouldn’t have worked as a story, as far as the larger plot is concerned, for any other Doctor apart from the Third, yet at the same time, is a
fantastic excursion through the main themes that lent the adventures of UNIT’s scientific advisor the timeless quality that’s ensured that they
remain firm fan favourites to this day. Not that I’m biased or anything like that you understand, I mean, my judgement is firm as a rock and wouldn’t
be influenced or prejudiced by the fact that the Third Doctor is my favourite incarnation of the Time Lord. Ahem, moving swiftly on…. As I said, the
major themes of the story, alien race emerging from a prolonged period in hibernation to right the wrongs done to them by humanity, capturing
subjects in order to discover how best to defeat mankind and then turning their advanced, strange technology on their would-be-enemies while
the Doctor tries in vain to save both species from entering a conflict that will inevitably result in the destruction of one of the protagonists, are
reminiscent of ‘The Sea Devils’ , ‘The Silurians’ and ‘The Daemons’, lending it an air of familiarity and a sense of time and place. Having said that
though, ‘Vengeance Of The Stones’ also feels like a late sixties pulp science fiction story that has incorporated elements of ‘Doomwatch’, both of
which ensure that it uses it origins merely as stepping stones, creating something entirely new and exciting from a tried, trusted and much loved
blueprint. And it finally ties up a few loose ends, serving as Mike Yates introduction to both UNIT and The Doctor, while at the same time, adds a
wonderful little touch to the on-going ‘Destiny Of The Doctors’ story arc, as it finally, and definitively links the events taking place in this story to
future events in the Doctors timeline. A wonderful Third Doctor story and another fantastic entry in a series that just keeps getting better…
Tim Mass Movement
Doctor Who: Spaceport Fear – Starring Colin Baker, Bonnie Langford, Ronald Pickup, Beth Chalmers, Gwilym Lee, Isabel Fay, Adrian
MacKinder, John Banks & Written by William Gallagher – 2xCD / Download (Big Finish www.bigfinish.com)
I believe that if something works, and works well, then it should be used time and time again, changing and
developing with each successive use until it evolves beyond the restrictive confines of its birth. Take the ‘base under
siege’ scenario for instance. It’s a Doctor Who staple, as much a part of the mythology as The Tardis, Gallifrey
and The Daleks, an idea that, even though it has been constantly recycled and reused for five decades, has never
grown old or become tired. ‘Spaceport Fear’ is essentially a ‘base under siege’ story, but one that mixes an enforced
bastardisation, due to separation and isolation, of culture and history over time with a “tribal” conflict that cleverly
reflects and mirrors the growing divide within our own society, epitomised within ‘Spaceport Fear’ by the standoff between ‘Business’ and ‘Economy’, two divergent halves of the culture that’s developed within the walls of the
Spaceport, a culture kept from imminent collapse and conflict by a figurehead who constantly plays one side off
against the other in order to fulfil his own agenda. All of which is happening around The Doctor and Mel who find
themselves trapped in an abandoned spaceport in permanent lockdown, a spaceport where monsters hide in the dark
and the long established “social order” is about to collapse as the long held dream of Elder Bones and his incredibly (ahem) similar counterpart,
The Director, approach fulfilment. Trapped and surrounded by monsters, it’s up to The Doctor and Mel to find a solution to a centuries old conflict
before they’re engulfed by circumstance. As I’ve already said, ‘Spaceport Fear’ utilises an old Who favourite and breathes new life into it, shaping
and moulding it in its own image, creating a genuinely exciting tale that revolves around a few wonderfully imaginative plot twists that makes full
and effective use of a superb cast and keeps the listener enthralled until the final notes of the end theme have faded out. Which is exactly what a
good Doctor Who story should do … Tim Mass Movement
Doctor Who: The Companion Chronicles: The Scorchies – Starring Katy Manning & Melvyn Hayes & Written by James Goss – CD /
Download (Big Finish Productions www.bigfinish.com)
You never think it’ll happen to you. Oh sure, you hear all the talk and waffle about how it can happen to anyone at
any time, but you never think it’ll happen to you. So, full of teenage bravado and the bluster and foolhardy belief in
the immortality of youth, you place a tab on your tongue and before you know it, you’re whisked away to a place
in which time slows to a crawl, the world draws in and the colours and your surroundings morph, twist and change
as your brains chemistry and make-up is forever altered, but you’re safe in the knowledge that it’ll only happen
once, because flashbacks only happen to other people. Or so I though until I heard ‘The Scorchies’ , a tale that’s
filled with psychotic alien puppets who beam their essence across the stars, looking for worlds to burn by exposing
the inhabitants to their television show, a programme that’s equal parts ‘Potty Time’, ‘H.R. Puffnstuff’ and ‘The
Banana Splits’ filled with strange, catchy songs and ray-guns. As Earth begins to fall victim to the hypnotic magic
of The Scorchies, it’s up to Jo Grant and The Doctor to battle their way through this psychedelic nightmare and
save humanity from the monstrous puppets who hail from the deepest, darkest parts of the galaxy. Yes, it’s strange
and yes, it’s more than a little odd and unlike any Doctor Who story that you’ve ever heard, but ‘The Scorchies’ is
also the most fun that you can have without ingesting hallucinatory chemicals or submitting yourself to mind altering government backed black
op programmes, so give in to pleasure, scratch that itch, feed that urge, indulge your dark side and listen to ‘The Scorchies’. It’s like, far out and
groovy baby. Real groovy… Tim Mass Movement
Doctor Who: The Justice Of Jalxar – Starring Tom Baker, Mary Tamm, Christopher Benjamin, Trevor Baxter, Mark Goldthorp, Rosanna
Miles, Ben Bishop, Adrian Lukis & Written by John Dorney – CD / Download (Big Finish Productions www.bigfinish.com)
Sometimes, just sometimes, the universe aligns itself in such a way that it almost makes you believe in the existence of some all-powerful superdeity whose thoughts and actions shape the very matter that we’re created from. After more than three and half
decades of waiting, one of those moments, the all too rare alignments, has been handed to us, the creatures of Who
fandom, on a silver platter, as once again the Victorian virtuosos of preternatural vigilante justice, Professor Gordon
Litefoot and Henry Gordon Jago find themselves allied with the Fourth Doctor in the fight against extra-terrestrial
“monsters” and earthly ne’er do wells. I suppose, if I were given to cynicism, that it was inevitable that, given the
success of the ‘Jago & Litefoot’ adventures, the heroes of the mysterious case of ‘The Talons Og Weng Chiang’
would meet again and probably rightly so, but it doesn’t change the level of excitement that I felt when the story
began, and knowing that it had inevitable didn’t change the fact that for an hour I was transported into an alternate
steam-punk reality in which law enforcement robots and love smitten sentinels armed with other worldly technology
take jurisprudence into their own hands and declare war on the villains of the old East End, a war that the Doctor,
Litefoot, Jago and Romana are inevitably drawn into. And you know what? For that one magical hour, I believed
that anything was possible because The Doctor, Litefoot and Jago were together again and all was right with the
Universe, everything was balanced and order re-established. Some dreams do come true, and some things are definitely worth waiting for…
Tim Mass Movement
Doctor Who: The Seeds Of War – Starring Colin Baker, Bonnie Langford, Ray Fearon, Ony Uhiara, Stuart Organ, Lucy Russell, John Banks,
Beth Chalmers & David Sibley & Written by Matt Fitton & Nicholas Briggs – 2xCD / Download (Big Finish Productions www.bigfinish.com)
For a brief moment while listening to ‘The Seeds Of War’ I thought I was going crazy, as caught up in the story, I desperately searched through my
memory for any trace of The Eminence and retrieving absolutely nothing I became convinced that I’d either suffered a psychotic break or, slightly
more worrying, a stroke or, again slightly higher on the worry-o-meter, that early onset Alzheimer’s had started to eat away at my past or that maybe
the government really were putting mind control chemicals in the drinking water and as such, I owed Crazy Dave an apology. A big bad from the
Whoniverse that has somehow evaded my Whodar? It was possible of course, but a more logical explanation was that I’d suffered a cranial event
or that the government drugs had finally started to kick in. Thankfully though, as the plot continued to unfold, I realised it was neither and that I’d just
been sucked in so successfully that I’d taken everything as face value, and so adjusting my tin foil hat, I returned to ‘The Seeds Of War. Set in the
immediate aftermath of a long, brutal and bloody war between Humanity and The Eminence, ‘Seeds…’ finds the Doctor and Mel struggling against an
old enemy (of the Doctor, not Mel) instead of, as they planned, embarking on an evening of fine dining in one of the most incredible restaurants in the
Universe. However, nothing ever goes as planned in The Doctor’s world, and after arriving in the right place at the wrong time, they find themselves
swept up in the frenzy that accompanies any victory, but the longer they spend caught up in the frenzy, the more they begin to realise that the socalled victory may just be hollow and not as set in stone as Earth government would like to think and believe, and our dynamic duo become part
of a furious cat and mouse game that will either save humanity or consign it to the annals of galactic history. A wise chap once said that the best
stories are merely a reflection of real life, and if that’s the case, then ‘The Seeds Of War’ is a tale not to be missed, as it mirrors the empty words and
promises of our government and the wars in the Middle East, using both to enforce the phallacy of “glorious victory” and the reality of the suffering
that conflict creates and perpetuates in and at every level of society except government. Names, faces and places may change, but human nature
never will. A breath-taking, humbling triumph… Tim Mass Movement
Doctor Who: The Talons Of Weng-Chiang – Written by Terrance Dicks & Read by Christopher Benjamin – 4xCD / Download (AudioGo www.
audiogo.com/uk)
Nineteen seventy seven was an incredible year. The Clash released their first record, Star Wars was playing in cinemas everywhere (and when my
five year old self saw it on the big screen it changed my life forever), Voyagers I and II were launched, The King made his final journey and the BBC
showed The Talons Of Weng-Chiang which scared the ever living hell out of me and left with me with lifelong mental scars including an irrational fear
of ventriloquist dummies and midgets. As much as it terrified me though, it was also the first Doctor Who story that I became obsessed with, and I
must have read Terrance Dick’s novelisation hundreds of times in the next twenty six years before finally reliving all my childhood fears when it was
released on DVD. It was just as terrifying as I remembered it being, a curious, but incredibly exciting, combination of Sherlock Holmes, Fu Manchu,
Gothic Horror and Science Fiction that, in my humble opinion, helped kick start the early gestation of the steampunk movement. Weng-Chiang is
Doctor Who at the height of its power, The Fourth Doctor and Leela entangled in a murder investigation in fog bound Victorian London facing a time
travelling war criminal masquerading as a Chinese God, an insane, semi-intelligent and autonomous homunculus disguised as ventriloquists dummy,
giant rats, Tongs, all of whom (except the rats of course) are desperate to locate a missing time cabinet from the fiftieth century. What more could
anyone ask for or want? Well, uh, maybe the first appearance of George Litefoot and Henry Gordon Jago who was played by the narrator of this
here, quite audacious and thoroughly enjoyable audio book of the tale, Christopher Benjamin. ‘The Talons Of Weng-Chiang’ is as enjoyable on audio
(especially if you’re on your own and you turn the lights down) as it is on DVD, adding a sense of characterisation and fleshing out the players in a
way the original serial never could, and Christopher Benjamin’s spirited, but always controlled reading paces the drama and plot perfectly, helping the
tale to slowly drift into the subconscious. Now that it’s in my subconscious, the question is, will I ever be able to sleep again? I doubt it, but it’s a small
price to pay for ‘The Talons Of Weng-Chiang’, and well worth every nightmare filled night of terror that the story is bound to induce. Yes indeed, its
worth that much and a thousand times more… Tim Mass Movement
Gallifrey: Series 5 – Starring Lalla Ward, Sean Carlsen, Louise Jameson, Stephen Perring, Steven Wickham, Marcus Harris, Peter Sheward,
Maggie Ollerenshaw, Barnaby Edwards, David Yip, Scott Handcock, Anjili Mohindra, Miles Richardson & Written by James Peaty, Una
McCormack, David Llewellyn – 3xCD / Download (Big Finish www.bigfinish.com)
Although they’re on a parallel Gallifrey that technologically is far behind their own, Romana, Narvin and Leela soon discover that to a certain extent,
Gallifrey, no matter what Universe or dimension it’s in, will always be Gallifrey and that the more things change, the more they stay the same. Series
5 returns to the familiar, politically charged and themed drama of series one to three, with Romana and Narvin
now, thanks to a little subterfuge at the end of series four, leading the government of this familiar, but at the
same time vastly different Gallifrey, and Leela leading the now freed slave caste, The Outsiders. Determined
to find a way home and to leave the new Gallifrey that they’re trapped on a better place than when they first
arrived, the three exiles have to survive an assassination plots and attempted behind the scenes coup, decide
the price that they’re willing to pay to get home when the true face of the faltering time travel programme and
it’s apparent ‘miracle’ discovery becomes obvious while navigating the Machiavellian power plays and political
games that are part of everyday society and life on this, and every other, Gallifrey. Then, just as it looks like
they’ve finally discovered a way home, everything changes in a wonderful, devilishly delicious cliff-hanger ending
that arrives without warning, delivers its swift uppercut and leaves you dazed, elated, and desperate for more.
I’ll admit that I was slightly worried that series five of Gallifrey wouldn’t be able to continue, and keep up, the
momentum generated by the previous chapters, but within ten minutes any doubts that I had were dispelled
by this stunning return to form, one that’s created an entirely new story-arc and opened up a wealth of infinite
possibility for ‘Gallifrey’. And did I mention the ending? Oh that ending, that tantalising finale, it’s the stuff that legends and dreams are made of, the
beautiful, almost chaotic, yet thoroughly ordered building blocks that shape the Whoniverse. This is how it ends and this is how it begins, so hold tight
and enjoy the ride because ‘Gallifrey’ just turned everything up to eleven… Tim Mass Movement
Gotrek & Felix: Curse Of The Everliving – Narrated by Jonathan Keeble & Performed by Gareth Armstrong, Chris Fairbank & David Timson
& Written by David Gaymer – CD / Download (Black Library www.blacklibrary.com)
It was only a matter of time until Gotrek and Felix escaped, once more, the confines of the page in order to appear in their sophomore audio
adventure, and finally, after what seems like an eternity, the moment has arrived. Gotrek and Felix have returned to the
realm of audio drama. ‘Curse Of The Everliving’ is a franticly paced, densely packed tale that see’s our adventurers
exploring a cursed castle and battling beast-men while desperately trying to defeat a demon prince in a quest that tests
the bonds of their friendship to breaking point. The use of the old ‘Castle Dracula’ type scenario in the Warhammer
Universe is a wonderful plot device, initiating more than a few “No, don’t go in there Felix..’ and ‘Watch out Gotrek!’
moments from the Hammer savvy (i.e., me) elements of its audience and the vivid, fully rounded characterisation and
occasional flourishes of black, almost fatalistic humour, ensure that from its beginning until it’s all too soon end, ‘Curse
Of The Everliving’, keeps its audience balancing on the razor sharp edge of Gotrek’s axe, fixated on, and entertained by,
each and every moment. Apart from a few minor quibbles, such as Gotrek’s accent (Is it Welsh? Cornish? Some sort of
Northern dialect? Or a curious combination of all three? Answers on a postcard to the usual address) and the far too short
running time, it’s a near faultless and triumphant tale that will hopefully be the first of many such outings for the duo. Fantastic fantasy…
Tim Mass Movement
Jago & Litefoot: Series Five – Starring Christopher Benjamin, Trevor Baxter, Lisa Bowerman, Raquel Cassidy, Duncan Wisbey, Ben
Willbond, Jamie Newall, Ken Bones, Chook Sibtain, Anna Tolputt, Alex Mallinson & Written by Jonathan Morris, Marc Platt, Colin Brake,
Justin Richards – 5xCD/ Download (Big Finish Productions www.bigfinish.com)
It’s a new series for George and Henry, a new world, as following their ‘Voyage To The New World’ aboard the Tardis,
instead of returning to 1893, the Doctor, as usual, slightly overshot his intended target and deposited the dashing duo
in the right place, but at the wrong time. Henry and George however aren’t the kind of chaps to let the little matter of
seven decades get in their way, and soon, under the guidance of their now immortal (thanks to her brief “flirtation” with
vampirism), long-time friend Ellie Higson, start to settle in swinging London, the former finding his natural role in the
world of televisual entertainment and the later managing an antique bookshop, but it isn’t long before Jago & Litefoot
find themselves embroiled in all manner of strange ghastliness and rum goings on. After getting caught up in a strange
scheme, concocted by a secret society, to turn back the clock back to Victorian times and plunge the modern world back a
century in time, our hero’s find themselves battling a hippie cult led by a swindling swami and his flesh eating mistress who
just happens to be a giant toad before finally coming face to face with a serial murderer, the brain drain killer, whose sole
desire and only wish is to see an old enemy of George and Henry’s return from the grave to wreck his revenge on the time travelling investigators.
Taking Jago & Litefoot out of their natural habitat and depositing them in nineteen sixties London has added an extra dose of fun and upped the
adventure and excitement in what was already a brilliant series, allowing their latest adventures to take a side-step into the territory normally reserved
for The Avengers and Adam Adamant, without losing any of the charm, wit, originality and humour that makes Jago & Litefoot one of the most
enjoyable series, in any medium, to have emerged and firmly stamp its identity on the world, in the last two decades. It’s like, awesome man… Tim
Mass Movement
Stargate SG:1 Series Three: Part Two – Starring Michael Shanks, Claudia Black, Andrew Collins, Andrew Whipp, Regina Reagan, John
Banks, Anna Tolputt, Stephen Hogan, Harry Myers, Ken Bones, Lisa Bowerman, Paul Hyu & Written by Richard Dinnick, Peter Evans &
Sharon Gosling – 3xCD / Download (Big Finish Productions www.bigfinish.com)
Along with Battlestar Galactica and Highlander, Stargate SG:1, is one of only three series that have managed to surpass their original cinematic origin
(and before you start complaining, the original Battlestar Galactica mini-series, the pilot episodes of the series proper, were re-edited for cinematic
release in the UK, as the cinema release was my introduction to the series), escaping the boundaries of their humble beginnings and far exceeding
any and all expectation of what the series could, and did, achieve. Stargate SG:1 is also one of only two series whose eventual cancellation actually
upset me and made me seethe with rage, vowing vengeance on the narrow minded fools who prematurely ended something that brought so much
joy to so many. Okay, that’s probably a little too much information, but you get the picture and have a tiny idea of how much of fan I was, and am, of
the franchise, so when Big Finish picked up the ball that SyFy dropped and began to run with it, I couldn’t have been happier. Series Three Part Two
consist of three separate, linked adventures in which SG:1 find themselves facing a version of the Asgard from another Universe, a mirror image of
the species that we’ve grown to know from the series, a species who have nearly destroyed their own Universe by burning anything and everything
within it. ‘Part Two’ is a non-stop, frantically paced adventure featuring moon sized dimensional gateways, ancient libraries full of knowledge, twisted
entities from a parallel Universe and a race to prevent time and the essence of the galaxy being irrevocably re-written and altered, that’s rammed
full of mythology and great stories. Oh, and it also features two of the greatest characters to have emerged from any Science Fiction show, Daniel
Jackson (Michael Shanks) and Vala Mal Doran (Claudia Black) saving the Universe from the evil that exists beyond the veil that separates our
world from the next. Part Two perfectly encapsulates the feel and spirit of the show, continuing, and building upon, the legacy of the SGC and SG:1,
while maintaining a sense of place within the Stargate Universe. The DHD is dialing, the chevron’s are engaging, and the Stargate is about to open.
Welcome back SG:1… Tim Mass Movement
The Stromark Massacre – Performed by Sean Barret, Tim Bentinck, Jane Collingwood, Saul Reichlin, Jonathan Keeble & Written by Andy
Smillie & CZ Dunn – Download (Black Library www.blacklibrary.com)
The Stromark system. Two worlds, and two different stories of war, war waged in the name of The Emperor, a war fought by the Blood Angels to bring
Stromark Prime and Stromark Secundus back into compliance with the Empire. Actually, that’s not entirely true, as the battles for Prime and Secundus
are actually fought by the Flesh Tearers and the Angels Encarmine, successor chapters of the Blood Angels created during the Second Founding,
who bring all the fury, anger and rage of their gene legacy to bear on the twin worlds in an orgy of devastation and destruction, changing the faces of
Stromark forever. Both stories, ‘From The Blood’ and ‘Terror Nihil’ are vastly different, the former a nearly straight forward “war story” seen through
the eyes and experiences of a Librarian whose gift helps facilitate, and makes possible, the invasion of Prime, while the later is shaped by the closing
moments of ‘From The Blood’ and follows The Pent, a five “man” squad sent to crush the last outpost of resistance on a dying world, and even though
‘From The Blood’ is a thoroughly enjoyable story that explores the psyche’s and fears of the descendants of the Blood Angels and delivers carnage
on an epic scale, ‘Terror Nihil’ is one of those chronicles that sinks into your subconscious, staying with you, turning over and over again long after
the last bolter round has been fired. A wise man once said that old soldiers never die, and ‘Terror Nihil’ takes that missive to heart, as ancient relics
of a time forgotten take to the battlefield once more in a quest to regain their lost honour and finally fulfil a promise they made millennia before, and
as their mission progresses, the fine line that seperates man and machine begins to blur even further as The Pent, driven by their previous failure,
set out to prove that history isn’t doomed to repeat itself and achieve victory at any cost. Two worlds and two incredible stories of death and violence,
tales shaped by the souls of the men given the task of maintaining the Empire and ensuring the safety and survival of humanity in hostile, unforgiving
Universe. For the Emperor and Sanguinius! Tim Mass Movement
Books
Action Comics #18 – Grant Morrison, Rags Morales, Brad Walker, Cam Smith, Andrew Hennessey (DC Comics www.
dccomics.com)
Popular and conventional wisdom would have us all believe that the greatest trick ever pulled involved the most beloved
of fallen angels and the entirety of humanity, but Grant Morrison finishes his writing duties on Action Comics in grand style
by revealing what the greatest trick really was, is and always will be. As endings go, Morrison’s is epic and then some, with
Superman locked in a battle to save , essentially, all of creation from a multi-dimensional being intent of destroying everything.
It’s battle that challenges and questions the concept of time and space, and our ideas and understanding of both, while at the
same time embraces and celebrates both the individuality of humanity and reminds the reader that as a species, we’re at our
strongest when we band together to face any and all forms of adversity. More than that though, it’s a celebration of Superman
and all of the things that make the Man Of Steel everything that he is. How he faces, accepts and overcomes the impossible,
acknowledging it as another challenge to be faced, and how by embracing the values that we’d all like to think we cherish (like
standing up for the little guy and the oppressed, represented here by a kid being bullied by a much bigger kid in the future,
who is saved by another child who is inspired by the deeds of Kal-El documented and recorded for posterity in a museum),
Superman represents the very best of us. Oh, and it’s a pretty darn good Superhero story as well, that thanks to ever vigilant
and supremely talented Rags Morales and Brad Walker, sucks you in, dances in and on your cerebellum and then spits you out, satiated and happy.
One day, all finales will be this good… Tim Mass Movement
Batman Incorporated #8 – Grant Morrison, Chris Burnham, Jason Masters (DC Comics www.dccomics.com)
In every battle, in every war, there’s a pivotal moment, a turning point where the path to victory, defeat or total annihilation
becomes clear. Batman Incorporated, with issue 8, has arrived at its crossroads in the conflict between Leviathan and
Batman Inc., and the decisions that the both sides make next will determine the ultimate outcome of their struggle. Given the
instantaneous nature of twenty first century news and the fact that it made headlines across the globe, there isn’t a soul out
there who doesn’t know that this issue is the one in which Robin dies, but as with any story, it’s the moments leading up to,
and the moments immediately following, Damians death that make the story, and boy oh boy, this is one heck of a story. It
reunites Robin and Nightwing (Damian and Dick Grayson) in a touching final, suicidal charge against overwhelming odds that
briefly riffs on the sixties series before exploding in a brutal fight to the death, in which Nightwing is incapacitated and…Well,
you know the rest. Morrison also highlights an all too common problem that exists in modern society by submerging the story
in the parental conflict that Damian is caught in the middle of, and demonstrates that the choices that offspring are often faced
with, and the decisions that they make, often through no fault (although that isn’t the case with Damian) of their own, can have
a devastating impact on the lives of everyone involved. Above all though, it’s a beautifully illustrated, touching story of one
boys heroic, defiant last stand that encompasses everything a brilliant Batman tale should, and while I’d love to take solace
in the age old mantra that no-one ever really dies in comics, given the nature of Damian’s final moments, I’m inclined to believe that this end (barring
the use of a Lazarus Pit, although whether or not the usage or effectiveness of the pits is a part of the New 52 universe, I couldn’t say) may well be
permanent. Batman Incorporated has reached a pivotal moment and instead of shying away from it, has embraced it tightly. I can’t wait to see what
happens next… Tim Mass Movement
Buffy the Vampire Slayer Season 8 Volume 4: Library Edition (Hardcover) - Joss Whedon, Brad Meltzer, Scott Allie, Jane Espenon, Georges
Jeanty, Karl Moline, Andy Owens & Michelle Madson (Dark Horse Books www.darkhorse.com)
This latest release of the collected Buffy volumes reprints issues 31-40 and a solo story starring Riley and
comprises the final 2 story arcs of Season 8. There’s also an expanded sketchbook section from Georges Jeanty.
I was quite dubious when the Buffy comic was announced all those many moons ago but it’s pleasing to see
how well the comic has maintained the tone and humour of the original TV series. It’s also good to see how Joss
Whedon’s creativity can flourish without the budgetary and technical constraints imposed by the TV show format.
For this story line is epic!
It starts with Buffy gaining super powers; strength, invulnerability, speed, telescopic vision, the full shebang. Willow
is wielding magic like Dr. Strange and the 2 of them are taking on rogue goddesses without a second thought.
There’s also the series Big Bad to contend with, the mysterious Twilight. One of the funniest scenes in the whole
collection is where Xander is using his comics knowledge to work out just what super powers Buffy has gained
and yes, she can run faster than a speeding bullet and leap tall buildings in a single bound. This first arc is mainly
concerned with where these powers are coming from and why Buffy has them at all and the answer is truly cosmic
(spoilers ahoy).
It would seem that the universe itself is flooding these powers into the Buffster. The same thing is happening to
Twilight and when he is revealed to be Angel (to absolutely nobody’s surprise), the couple end up having ‘destiny
sex’ and spawning a whole new reality. Basically, by sharing out her Slayer power and creating an army of slayers,
Buffy has disrupted the natural order of things causing the universe to evolve. Buffy and Angel’s cosmic shag
creates a new universe, rendering the old one obsolete and therefore at the mercy of a horde of invading astro-demons. Every silver lining has a
cloud and all that.
Buffy misses her friends and really doesn’t like the idea of the world being destroyed so promptly abandons her new universe, convincing Angel to
return with her to fight the invaders. Our heroes are facing impossible odds and are losing quite convincingly until Spike shows up to kick start the
second arc: a quest to find the Seed of Wonder, the source of all magic on Earth. The Seed is conveniently buried underneath the ruins of Sunnydale
and is guarded by everyone’s favourite nosferatu, The Master. During the battle The Seed is destroyed, along with most of the magic in the world and
banishing the invading nasties, setting things up nicely for season 9.
The whole thing hangs together well and the cosmic plot, myriad Buffyverse guest stars and the many deaths (including one major character) keep
things interesting enough to keep turning the pages. The dialogue is mostly excellent (bar a few exposition heavy bit in the second arc) and is in
keeping with the TV show. The art is consistently of high standard and the big sex scene between Buffy and Angel has to be one of the longest in
comics history. What more could you want? Giant Insects? Weird flying jellyfish demons? A ton of super hero in jokes? It’s got all those too.
These collected editions are superb value and provide an excellent reading experience, not just for the fans of the TV show, but for all fans of comics
in general. Recommended. Paul Ferriday
Constantine #1 – Jeff Lemire, Ray Fawkes, Renato Guedes (DC Comics www.dccomics.com)
John Constantine, the magic using and abusing anti-hero who everyone loves to hate and hates to admit that they
love and mainstay of the DCU until his Vertigo published book, ‘Hellblazer’ finished its run with issue 300, is back
and if the first issue of ‘Constantine’ is an indication of things to come, then folks, we’re in for one hell of a ride.
It’s got to be a tough gig introducing such a well-established character to a new audience, while at the same time
ensuring that the faithful are kept happy and that the central character doesn’t deviate from everything that makes,
and made, him who he is, and establishing him as a part of ‘The New 52’. Yeah, that’s one heck of an order to
fulfil, but Fawkes and Lemire have proved, with their opening tale, that they’re more than up to the job. In the thirty
two pages of his debut book, Constantine survives an assassination attempt, embarks on a quest to the frozen
North to retrieve a powerful magical artefact, a mission on which he’s pursued by the new head Sorceress of the
Cult of The Cold Flame which no doubt is going to be the start of a “beautiful friendship” and reveals everything
that his audience, both old and new, need to know about his personality and character through, and by, his
treatment of his friend and client Chris, who he’s supposed to be trying to help. All of which is brought to glorious
and incredible life through the jaw dropping art of Renato Guedes. So yeah, it was a tough gig, but the creative
team have made a believer out of me, and if they can do that, then they’ll have the entire audience eating out of
their palms. Welcome back John… Tim Mass Movement
Detective Comics #19 – John Layman, Jason Fabok, Andy Clarke, James Tynion IV, Jason Masters, Mikel
Janin, Henrik Jonsson (DC Comics www.dccomics.com)
It’s all about the wings. Five seemingly, and on surface, apparently separate stories, but
appearances can be deceptive, as there’s a winged undercurrent that links each tale, an undercurrent that doesn’t bode well for
the future of Gotham or Batman. The first of the five offerings sees a new airborne variation of the Man-Bat virus take hold of
the 900 block of Gotham city, turning its citizens into slavering monsters before the truth about the “serum” is finally revealed,
which leads into the second story, a tale of love and science which charts the lengths that the human heart will go to obtain that
which it most desires and needs, altering it’s very being to assume the same form as its beloved. The third entry follows Bane
and his war council as he finally realises and acknowledges the force, previously thought to be the stuff of myth and legend, and
power that really stands between him and the conquest and destruction of Gotham, a force that changes his plans for Batman
and the city he protects. The penultimate story focuses on the shifting criminal power-base in Batman’s world, as the new guard
starts to assert itself in the absence of the old, a move that enrages the old guard, providing the initial spark for the inevitable
underworld war, a war in which Batman will doubtless play a pivotal role. Which brings us to the final chapter, which in turn takes
us full circle, tying into the opening tale, a story that illustrates just how much the city and some of its ‘finest’ have come to rely
on and believe in Batman that serves as to remind the reader that faith, in the darkest of times can be shaken and tested, but never broken. All of
the Batman titles that have appeared in the wake of Damian’s death feel like they’re shedding their skin as they prepare for the next chapter, and
Detective Comics #19 is on the same path. It feels like a new beginning. The beginning of something wonderful… Tim Mass Movement
Edge Of Infinity – Edited by Jonathan Strahan (Solaris Books)
Literature feeds the imagination, and imagination, in turn, creates literature, the people, situations and stories that live in the pages of every great
(and not so great) novel, but the only literary genre to look beyond the confines of our home, the only genre that spreads its wings far beyond the
boundaries of the Earth’s horizon, is Science Fiction, and that’s what I originally fell in love with, and still adore, the fantasies and tales that take
place out there, out there in the depths of space and the furthest corners of the Universe. Edge Of Infinity, the latest collection of Sci-Fi short stories
from Solaris, reduces the genre’s focus to a single solar system, our solar system, concentrating on humanities progress and collective endeavours
as it takes its first tentative steps into, and learns to exist in the eternal void of space. For the most part, the stories on offer chart a bright, bold and
enticing future absorbing the readers consciousness, letting them explore the myriad of possibilities on offer, and while all of tales in the collection
send the readers imagination on a journey that spans the eight planets and their collected satellites, as with any, and all, short story collections, there
are, inevitably, tales that stand out, that draw the reader in and become, well, become special, and Alastair Reynolds ‘Vainglory’ and Bruce Sterling’s
‘The Peak Of Eternal Light’ are worth the price of admission alone. The former has an nourish pulp feel as the mystery of the formation of Neptune’s
rings is finally solved, and the later charts the evolution of humanity away from its ancestral home, whilst exploring the necessity of, and humanities
dependence upon, social convention, and without meaning to, we revert to type and embrace outdated and outmoded ideas in order to find comfort
and safety in the unknown. Edge Of Infinity explores and embraces the old adage that home is where the heart is, and wherever our hearts take us,
whether it’s Titan, Earth, a rocky, uncharted asteroid or Neptune, eventually, that’ll be our home…. Tim Mass Movement
Katana #1 – Ann Nocenti & Alex Sanchez (DC Comics www.dccomics.com)
Whether you’re familiar with Tatsu’s history in the DCU as a whole or in The New 52, or not it doesn’t matter, the debut issue of ‘Katana’ is the perfect
jumping-off point for fans both new and old alike, allowing the reader to slowly enter her world, and her quest for vengeance. Nocenti’s story begins
with Katana journeying to and settling in San Francisco, as she begins her hunt to bring down the Sword clan and the initial cast of characters Tatsu
encounters ,including the mysterious Shun who you just know is going to be vitally important to the story, and Junko, the would-be master in waiting.
It’s a more than promising start to the new series, exquisitely drawn by Alex Sanchez, that, thanks to an expertly delivered combination of flashback,
furious pace and intriguing plot, seamlessly folds history and story together, delivering a tale that once tasted, almost instantly becomes a delicacy of
choice. The time for talking is over, Katana is here… Tim Mass Movement
The First X-Men: Children Of The Atom – Neal Adams & Christos Gage (Marvel / Panini)
What if Charles Xavier’s X-Men weren’t, as is widely believed, the first group of mutants to together to train and realise their full, incredible potential
after fleeing sinister government agencies who would rather they were dead or locked away in the deepest, darkest holes imaginable so that the
secrets of mutation could be ripped from their flesh by force and used to dominate, subjugate and destroy any and all enemies both foreign and
domestic? And what if the “visionaries” who assembled this rag-tag bunch of young mutants in an attempt to create a better tomorrow for their
brothers and sisters were Wolverine and Sabretooth? Those questions and more, are answered in Neal Adams ‘The First X-Men’, as he explores
a hitherto hidden chapter in the history of Wolverine and Sabretooth and charts a time in their relationship when both men tried to build something
greater than themselves, a time mired in failure and frustration that helped chose the path that each would follow for the rest of their lives. ‘Children
Of The Atom’ is an intriguing, interesting, and well executed story that embraces and twists established X-Men canonicity that feels like an alternate
history story – in fact it almost feels like one of Marvel’s ‘What If’ stories, yet at the same time incorporates enough of what we already know to be a
part of the set-in-stone history of the X-Men and mutants in the Marvel Universe to be just what, on the surface, it appears to be. A long hidden, until
now, part of X-Men lore. As you’ve probably guessed, due to the books nature, Wolverines mission becomes his folly and his enterprise is one that’s
doomed from the beginning, a fact that Magneto happily shares with Logan as he refuses to help or join his new group, as does a young Charles
Xavier whose initial encounter and subsequent peripheral dealings with Wolverine no doubt played a small part in his decision to, later, follow a
similar path. Or at least it would have done if The First X-Men took place in the same continuity as Xavier’s team, and who’s to say that it doesn’t,
and if that is the case, doesn’t that mean, and imply, that Logan was the original inspiration for the formation of The X-Men and, as such, the most
important figure in mutant history? So is ‘Children Of The Atom’ an exploration of causality that plays on the old adage that there’s nothing new under
the sun or just a full throttle, no-nonsense, well told and exquisitely rendered X-Men story? Whichever one it is doesn’t really matter, because if you
think about it too much, or too hard, you’ll probably end up suffering a cerebral event. So don’t think about it. Just enjoy the book…
Tim Mass Movement
The Age of Voodoo - James Lovegrove (Solaris)
Lex Dove thought he was done with the killing game. A retired British wetwork specialist, he’s living the quiet life in the Caribbean, minding his own
business. Then a call comes, with one last mission: to lead an American black ops team into a disused Cold War bunker on a remote island near his
adopted home. The money’s good, which means the risks are high. Dove doesn’t discover just how high until he and his team are a hundred feet
below ground, facing the horrific fruits of an experiment blending science and voodoo witchcraft. As if barely human monsters weren’t bad enough, a
clock is ticking. Deep in the bowels of the earth, a god is waiting. And His anger, if roused, will be fearsome indeed.
Brilliantly written, very original take on a familiar subject, one that sorts of minor staple of genre fiction, and even though there is a pretty big back
history to this series (in which I’ve only read one other tile), but in truth, you don’t really need to know any of it, as ‘The Age Of Voodoo’, like all the
other books in Lovegrove’s on-going Pantheon series is a complete take in its own right.. Very entertaining, at points amusing, with fantastically
detailed action, characterisation and an interesting spins on mythology and culture, ‘The Age Of Voodoo’ cast it’s spell on me from the off. It almost
like a perfect take on a Horror styled version of Bond. Whether you like Sci-Fi, Fantasy, Horror, Action or just a completely solid, good, old fashioned
great read, it doesn’t matter; you’ll love ‘The Age Of Voodoo’ as it’s got the lot and then some. Bloody marvellous… Gav
The Judge Child – John Wagner, Alan Grant, Brian Bolland, Mick McMahon, Ron Smith (2000AD www.2000ADonline.com)
Some stories have such a profound impact on you that they stay with you forever, becoming part of the background noise of your everyday life. ‘The
Judge Child’, the multi-part Judge Dredd epic in which old Stoney Face ventures through the confines of known space on a quest to track down and
return to Earth a child who holds the key to the future survival of Mega City One, a child kidnapped first by mutant slavers, then by a crazed priest
and finally by the notorious Angel Gang, first appeared in the pages of the prog in 1980 or so, and thirty something years after it first wormed its
way into my subconscious, it’s time to revisit one of Dredd’s finest moments as it’s reprinted in a wallet friendly, pocket sized format. ‘The Judge
Child’ is in a sense, Dredd’s version of the Quest For Holy Grail, as he, and a group of his fellow judges, ventures out to find the one thing that can
save his kingdom form certain doom, and while on his quest, has many adventures, each one slightly stranger than the last, as he discovers that
the Universe is a vast and wonderful place in which anything and everything can happen. Sentient planets, the Jigsaw Man, the Necromancer Of
Necros, Oracle Spice, giant man eating Toads, a bio-chipped society (the pre-cursor to, and inspiration for Richard Morgan’s Kovacks trilogy maybe?)
in which the rich, to prevent themselves falling prey to death, rent bodies in a bio-mechanical hunt for immortality, the Judge Child, Owen Krysler,
the infamous Angel Gang, and one of Dredd’s most recognizable and “adored” foes, Mean Machine Angel. However, it’s not all straight laced, gun
play and gung-ho action, as there’s also a blackly comic, humorous streak that runs throughout the story, one that’s wrapped up in, and captured by,
Dredd’s obsession with a fellow Judge’s facial hair and the almost psychedelic world-scapes that he finds himself having to interact in and deal with.
And you know what? More than three decades after I first read it, it’s still one of my favourite Dredd tales and it’s every bit as good as my inner child
remembers it being, and as I don’t like arguing with me (I always lose), you’ll just have to trust me when I say that ‘The Judge Child’ is Dredd at his
drokking best, and if my word isn’t good enough for you, just trust in Dredd. After all, he is the law… Tim Mass Movement
The Mighty Thor: Everything Burns – Matt Fraction, Kieron Gillen, Alan Davis, Barry Kitson, Carmine Di Giandomenico & Stephanie Hans
(Marvel / Panini)
No matter where you travel in the Universe, and no matter which of the Nine Realms you call home, there seem to be
certain, inescapable galactic, dimensional and worldly truths that bind and fuse all living beings. Vengeance, and the misery,
destruction and death that always follows in its wake, and an overwhelming lust for power seem to be the prime motivational
forces that drive the vast majority of every species, leaving a small percentage of the remaining populace to try to do the
right thing, to fight for the equality and freedom that’s gradually erode by the aforementioned majority as they seek to fulfil
their petty ambitions. ‘Everything Burns’ is the culmination of plots and schemes, personal and political, both out in the open
and behind the scenes, that drive the Nine Realms toward destruction as Surtur sets out to burn everything and bring an
and end to all things. It’s a story of brotherhood, as Thor and Loki seek to bring Surtur’s plans to an end, it’s a tale of growth
as the brothers seek to throw off their shackles and escape the roles that the Universe would have them fill, of relationships
and how they can be twisted apart by the smallest of actions and how their gradual splintering effects the world, and it’s an
incredible action packed story in which the fate of every living thing hangs in the balance. Oh, and it also features the return
of Odin, and what his return from exile means for the Nine Realms. ‘Everything Burns’ races along at an incredible pace,
blink and you’ll miss a panel in which a crucial plot thread of one of the many interwoven story arcs appears, as story and
action combine to create one of the best Thor tales of the last decade. Okay, so if you’re not well versed on the current
events and mythology of Thor you may get a little lost or end up scratching your head with a puzzled expression on your face, but for the faithful, this
is pure four colour gold, a tale that Stan Lee himself would be proud of, wrapped up in beautiful, breath taking artwork that overwhelms your sense
and leaves you spent by the time you reach the final panel. This is The Mighty Thor at its finest, equal parts story, plot and pace, ‘Everything Burns’
has set a new benchmark for the favourite son of Asgard, one that it’s going to be nigh on impossible to follow, but I daresay some brave soul will try,
and succeed, but until they do, we’ve got ‘Everything Burns’, and that should be enough for any mortal. For Asgardia! Tim Mass Movement
Ultimate Comics: X-Men: Divided We Fall, United We Stand – Brian Wood, Paco Medina, Carlo Barberi (Panini / Marvel)
It was a long time coming, but war, in all but name, finally came to America, an America splintered and shattered by the hate-filled anti-mutant
rhetoric and venom of William Stryker. With the country on the brink of collapse, Kitty Pryde leads her rag tag mutant team to the South West and
the heartland of the anti-mutant militia’s in an attempt to take the battle to the paramilitary groups feeding on terror and fear, free her brothers and
sisters from the camps they’ve been sent to and inspire her people to rise up, to stand and fight for their right to existence and for every single little
thing that Stryker and his poisonous followers would deny them. With help being given from an unexpected quarter, Kitty, Iceman, Rogue and Jimmy
are granted their communal heart’s desire, pushing harder and further until an inevitable showdown with an adversary they thought was dead and
his legions of Nimrod Sentinels becomes as inevitable as its conclusion. This is a conflict that only one side will walk away from, and the victory will
be hard fought, leaving them bruised, battered and nearly decimated, but triumphant and with renewed hope. But like all victories, it ends up being
nothing more than a small bump in the road, as the final pages leave both Kitty and the reader wondering whether the sacrifice and suffering was
worth the eventual “prize”, but also desperately curious to find out what happens next on the path to freedom and equality. Perfectly paced and
comprised of equal parts drama, action, emotion and political subtext, ‘X-Men: Divided We Fall, United We Stand’ paints an almost too realistic story
that’ll grab and haul you in with its opening panel and won’t let you go until long after the final frame has started to fade from memory. It’s powerful,
exciting book that’ll leave you questioning whether or not what you’ve just read is a portent of a time yet to come, and if so, which side you’ll inevitably
have to take when the world comes crashing down around you. Vive la revolution… Tim Mass Movement
DVDs
Circle Jerks: My Career As A Jerk – A Film by David Markey (MVD Visual www.mvdvisual.com)
With band and documentaries suddenly exploding into life with a slew of releases, it was only a matter of time until one appeared that I’d crawl
over broken glass to watch and fight a village hall full of pensioners in order to get a row front seat, and ‘My Life As A Jerk’ is that film. It’s the story
of the thirty year history of the band told in their words via probing, disarmingly honest and often brutally truthful interviews with Keith Morris, Greg
Hetson, Zander Schloss, Lucky Lehrer and Earl Liberty (all interviewed separately, which should tell you everything you need to know about the
likelihood of the band ever hitting a stage together again) that explore the minutia of the band, the relationships that fuelled and fired their creativity
and drive, their gradual ascension in the punk and alternative music scenes, the truth about their ever evolving sound, the reasons for the bands
multiple disintegrations and reformations, and why after more than thirty years, the Circle Jerks finally came to a grinding halt. The interviews are
peppered with live footage of the band, footage which shows what an incredible live force they were throughout their career, and the whole film paints
a tantalisingly real and forthright picture of a punk rock band overcame adversity and did things their way only to fall apart just as they were about
to capitalise on their decades of hard work. There are however, a few problems with the film. The bands impact on the LA and global scenes is only
discussed briefly in fleeting interviews (seriously, they’re almost blink and you’ll miss them moments) with Brian Baker, Henry Rollins, Greg Graffin,
J Mascis and Lisa ‘Frontier Records’ Fancher, and personally I’d have liked to have seen longer, more probing interviews about the Jerks with more
scene luminaries, which would have put the bands place within the punk rock scene into context, creating a more reliable image of it, one that didn’t
rely solely on the recollections of the band members themselves. But as the film is about the band itself, seen from their perspective, I can understand
the omission of such an afterthought. Apart from some ex-members not being featured (Chuck Biscuits, Keith Clarke, Kevin Fitzgerald etc.) which I
guess was down to them not wanting to be a part of the film, the only other problem, from my perspective, is the way in which the death of founding
member, Roger Rogerson is handled, as the film skips over it in less than two minutes, and the only person who seems upset by what happened is
Greg Hetson. Maybe it wasn’t an important moment for the band, or maybe it was just too painful to discuss, but the way it’s handled seems almost
cold and slightly dismissive. Those criticism aside, ‘My Career As A Jerk’ is a powerful, absorbing study of what and who made one punk rocks most
incendiary band tick, and the story of band that never quite fulfilled their potential or achieved everything they should have. Recommended…
Tim Mass Movement
Dracula (Lionsgate / Hammer / Icon)
There are few literary figures as iconic as the infamous Count Dracula, the most nefarious of all vampires, and there are few genre actors as famous
as Peter Cushing and Christopher Lee the bastions of Hammer’s “Golden Age of Horror”, and so when the first British cinematic exploration of
Stoker’s creation was released, the audience reaction was, to say the least, overwhelming, and a legend was born. Don’t believe me? Close your
eyes, think about and focus on Dracula. You’re thinking about Christopher Lee aren’t you? From the moment the projectors started rolling on the film’s
opening night, Christopher Lee became Dracula and vice versa, and in five and half decades since the film’s original release, every man, woman and
child in the Western world has pictured Lee whenever they think about, or dream of, the most wretched of all Nosferatu. ‘Dracula’, is a tightly plotted,
fast paced film that differs enormously from its source material, creating an entirely new story in which only the characters and certain aspects of the
novels plot remain, and yet, having read the book a number of times, this film, the Hammer version of ‘Dracula’ is, to my mind, the definitive version
of the story. It’s imbued with a raw sexuality, tension and underlying sense of fear and terror that’s brought to dramatic life via the conflict between the
lustfull, lascivious creature of the night and the uptight, well-mannered and polite Professor and the women who inevitably end up caught between
the adversaries as battle commences. Cushing and Lee are on fine form, and are, truth be told, the driving forces behind the almost minimalist, yet
effective, plot and thanks to the magic of digital restoration, the film has never looked better. Sharp, clear and fully restored for the first time since
the BBFC first demanded it be cut for release, ‘Dracula’ has undergone a radical transformation that has prepared it for, and secured its continued
survival in, the twenty first century. Dracula lives again… Tim Mass Movement
Fear Itself – The Complete First Season (Lionsgate)
‘Fear Itself’, the series born from the ashes of the aborted third season of ‘Masters Of Horror’, was like its more famous
predecessor, a horror anthology show, that each week shared a different tale from the dark side with its audience.
At least it would have done, had it actually been allowed to find its audience by its original US broadcaster instead of
being cancelled after eight episodes, becoming another victim of the eternal ratings war that fuels the world of American
Television. Which, if you ask me (and you are, because you’re reading this, so shut up, keep reading and save the
insults for later okay?), was one of the worst decisions that NBC ever made, because despite a few weak links, ‘Fear
Itself’ had a lot of promise, the good episodes far outweigh the bad and the series offered up enough genuine scares
and gore to keep even the most ardent horror fanatic happy. Okay, so some of the stories are a little below par, like, the
usually dependable Stuart Gordon’s offering, ‘Eater’, which is highly reminiscent of the finale of most James Herbert
novels, in that it’s rushed and feels flat, and John Dahl’s ‘Chance’, which just seems to go nowhere despite a sterling
lead performance from Ethan Embury. And then, there’s the lack of cohesion. I know that each episode is a standalone
story, but the series still needed something to link each episode, something that would have helped it to develop its
own identity. It needed its own Rod Serling, Crypt Keeper or Control Voice, and because it didn’t have anything to link
its widely different stories, it doesn’t feel like a series, it feels like what it actually is. A collection of short horror films
bunched together under a group name. However, don’t let those minor annoyances put you off rushing out to buy the “series”, because ‘Fear Itself’
has enough blood soaked, gore smeared, dread fuelled goodies to power any Terror marathon and will keep you locked on the idiot box until the final
credits have finished rolling on the final episode. ‘Sacrifice’, ‘Skin And Bones’, ‘New Year’s Day’ and ‘Something With Bite’ serve up monsters galore,
while ‘The Spirit Box’ and ‘Spooked’ each deliver a master class in supernatural scares, while the weird end of the horror spectrum is well and truly
catered for by ‘Echoes’, ‘Family Man’ and ‘Community’, each and every one of the aforementioned episodes making sure that even though its life was
short, ‘Fear Itself’ was horrifically sweet, and did exactly what it set out to do. It made horror fans, especially this one, very, very happy. So kids, be
happy. Surrender yourself to ‘Fear Itself’… Tim Mass Movement
I Didn’t Come Here To Die (Second Sight)
From the very first scene, the film’s opening shot, you know exactly what kind of visceral trip lies in store for you with ‘I Didn’t Come Here To Die’.
Sure, it’s a low budget splatterfest, but it’s also a heartfelt and loving tribute to the glory days of the eighties video nasty that manages to take a genre
cliché and give a fresh, interesting and involving spin that hooks it’s audience in and doesn’t let them go until the blood soaked final frame. The
film follows six young folk setting out into the darkest, deepest woods to begin the long and laborious process of setting up a Summer camp, but a
drunken accident sets in motion a chain of events that, driven by raw emotion, misunderstanding, paranoia and circumstance, slowly escalates until
one by one, the young folks, they all fall down, helped on their way by chainsaws, shovels, branches and an automobile. Stylistically, ‘I Didn’t Come
Here To Die’ is highly reminiscent of Craven’s ‘Last House On The Left’ , ‘ Zarchi’s ‘I Spit On Your Grave’ and Sam Raimi’s genre masterpiece, ‘Evil
Dead’, but rather than try to hide it’s influences, it embraces them and as such, Bradley Scott Sullivan’s directorial debut is a rollercoaster ride of gore
soaked goodness that, thanks to some wonderfully evocative camera work that accentuates the tension, sense of isolation and descent into madness
around which the film is built, and some incredible performances from Niko Red Star (Chris), Kurt Cole (Danny) and Emmy Robbin (Sophia), casts off
the shackles of its independent genesis and stands shoulder to shoulder with its bigger, richer major studio cousins. And just when you think it’s all
over, Sullivan delivers his trump card and serves up a strange, beautiful, ode to the good old days, ending that’s proof positive that the law works in
mysterious ways and what goes around, comes around. Horrifically good fun… Tim Mass Movement
Looper (Entertainment One)
Is there anyone out there, who at some point, hasn’t longed for the ability to travel through time, to change
their past and in so doing their future? How many of us have longed to be given the opportunity to change
the decisions we once made, the ones now weigh us down and eat away at everything we are, or to take that
chance that we let slip through our fingers? I’m willing to bet that each and every single one of you has, at some
point, dreamt about the seemingly endless possibilities offered by travelling in time. The chronological journey,
is one that binds, limits and fascinates us as a species, and maybe that’s why novels, comics and films centred
around the subject have always been incredibly popular, from Wells ‘The Time Machine’ to ‘Doctor Who’, time
travel has cast its spell on us and holds us in its thrall. The problem is, most films about popping backwards
and forwards in the vortex, suck, and suffer from weak characterisation, badly plotted stories riddled with holes
and woeful pseudo-scientific explanations tying all the loose thread together that the directors and writers
expect their audience to swallow wholesale. That however, I’m more than a little happy to say, isn’t the case
with Looper, which is probably the best time travel film to have emerged, kicking and screaming from Hollywood
in the last decade. The story, told from two points of view, is all about Joe, a “Looper”, a mob hitman who kills
victims sent into the past from thirty years in the future, a future in which time travel has been invented, but has
been deemed too dangerous and expensive for common usage, and such is only used by organised crime, both
legal (cough, the government, cough) and illegal. It’s the perfect crime, disappear without trace in the future,
disposed of in the past, and it’s incredibly well paid. There’s just one drawback. At some point in their career,
every Looper has to close their own “loop’, that is, they’re sent back from the future to be disposed by their past
selves, at which point the past selves are given a “golden” handshake, let out of their contract and can spend
the next thirty years living the high life. Until the day they’re sent back in time. When the big boss in the future starts closing everyone’s “loops”, it’s
only a matter of time until Joe has to close his own, but seeing his future self arrive, he hesitates, giving the older Joe time to escape, to escape and
pursue his own agenda, leaving the younger Joe desperately trying to track down and kill his older self before he ruins younger Joe’s life and changes
everything forever. With a solid, water-tight (well, as water tight as any film about causality and effect can be) story that’s equal parts Philip K. Dick
and William Gibson, that’s filled believable, well rounded characters brought to life by a first rate cast (Joseph Gordon-Levitt is incredible as young
Joe), “Looper” defies the odds and in doing so, becomes more than the sum of its parts and, even though the ending is fairly obvious and plays it
safe, assumes the mantle of that all too rare beast. A bloody great time travel film. Tim Mass Movement
Person Of Interest – Series One (Warner Brothers)
So, I’m sitting here, running purely on adrenaline and caffeine, completely wired and about two cups of coffee away from having a Jack Torrance style
meltdown after watching all twenty three episodes of the first series of ‘Person Of Interest’ back to back, but it’s okay, it’s all good and it’s all fine,
because I think I’ve just accidentally stumbled across one of the best television series of the last decade. I didn’t mean to watch the entire series in
a day, but by the time the third episode had finished, I realised that I just couldn’t stop and I had to carry on, I had to push on to the end, I had to find
out what happened next. And damn, the plot twists, they just kept coming as the underlying story arc(s) gradually emerged, took shape and started
to weave their tangled web through each episode, and as the arcs began to consume everything in their path, the characters evolved alongside
them, building in conjunction with the multiple plot threads, and sixteen hours after I pressed play and sat back to watch the pilot, the final credits of
the series finale began to roll. So what’s it about? Well, seeing as you asked… Basically, it’s about two men making a difference in the world, one of
whom Reece (Jim Caviezel) is an ex-CIA Black Op’s agent on the run from the agency after their plan to “terminate” his contract went slightly awry
and the other, Finch (Michael Emerson) invented a machine that can foresee criminal activity, singling out those involved in said crimes, but it can’t
predict if the people involved are the perpetrators or the victims. That’s up to Finch and Reece, it’s their job to untangle the lives of the people that the
machine names and either save them or ensure that they’re brought to justice. And as the series progresses, their “work” ensures that they fall foul of,
and get caught up in, organized crime and police corruption while trying to stay one step ahead of all the government agencies that want them dead,
while their back stories, and those of the people they recruit to help them, are gradually revealed through an intriguing series of flashbacks, but every
tantalising titbit about Finch and Reece that the audience is given inevitably ends up posing another five questions, questions that you’re desperate
to have answered. Which is why I ended up spending sixteen hours glued to the screen. ‘Person Of Interest’ should come with a health warning,
because you take one hit, you watch one little episode, and you end up needing more, craving that next forty two minute fix because nothing else will
fill that tiny gap in your life in the same way that ‘Person Of Interest’ can, and does. You’ve been warned… Tim Mass Movement
Scanners (Second Sight)
If you’re old enough to remember the golden age of video rental shops and the rabid media frenzy that was whipped up by the sudden easy
availability of the so-called ‘video nasty’, you’ll almost definitely, like me, have a soft spot (not a cranial one though) for ‘Scanners’. Narrowly escaping
the wrath of the Orwellian do-gooders, David Cronenberg’s film became famous via word of mouth because it was the film that famously featured
“that guy’s head exploding”, and while the famous exploding head scene is, admittedly, a centre piece, and central plot point, of the film, there’s a
lot more to Cronenberg’s under –rated cult classic. It’s also got exploding eyeballs, people catching fire and a guy tearing his own face off. How cool
is that? All right, all right, enough. Seriously though, ‘Scanners’ follows David Cronenberg’s obsession with body horror and as well as being a first
rate conspiracy thriller, it’s also a film with a social heart and conscience, championing the individual over the gestalt consciousness of corporate
consumerism while examining the implications of, and majority reaction to, an evolutionary change in the minority and at the same time questions
humanities ability, and whether or not we have he right to, twist our own nature and manipulate our own evolution. Oh, and Cronenberg is still one
of the few directors who can use his films to criticise and lambast corporate policy, in the case of ‘Scanners’, making the causal effect for the genetic
change a sedative drug used during pregnancy, which mirrored the Thalidomide scandal and the resulting fallout from the drugs usage. Moving on to
the film itself… Okay, so the plot is fairly straight forward, outsider recruited by corporation to infiltrate rival group and then outsider realises that both
sides are as bad as each other and the only side to be on in any “war” is your own, nearly all of the “twists” are incredibly obvious and the whole thing
looks and feels a little dated, but it’s still a lot of fun and features an incredible performance by Michael Ironside, who, let’s face it, owns the film from
beginning to end and at the end of the day, sometimes that’s all you need. A fun film with a crazed, mutated villain that you’ll remember for the rest of
your life, a bad guy so convincing that nearly thirty years after first seeing the film, he occasionally pops up in your dreams, causing you to wake up
screaming in terror. Oh, and don’t forget the exploding head. You can never go wrong with an exploding head. Unless it’s your own…
Tim Mass Movement
Sinister (Momentum)
I am, truth be told, not really a fan of films that revolve around the supernatural, metaphysical or entities from the other side. Actually, that’s not
really true, I like the subject matter, but the subject matter doesn’t like me. Blood, guts, gore and more I can take any amount of, but ghosts, spirits,
poltergeists and demons? They scare the hell out of me, but that’s why we go to see these films in the cinema isn’t it? To be scared damn near out
of our minds, to be terrified and frightened, to lose all sense of reality and start confusing the fantasy that we’re seeing on the big screen with the
mundanity of everyday life. To be shocked into thinking these things could happen, that they might happen, that they have happened. Like its famous
predecessors, ‘The Exorcist’, ‘Poltergeist’, ‘The Blair Witch Project’ and to a lesser extent, ‘Paranormal Activity’, ‘Sinister’ does exactly that, it does
exactly what a good horror film should. It terrifies you. Ellison Osborne (Ethan Hawke), a true crime author desperate to write another bestseller,
moves his family (unbeknown to them) to a house where a family of four were recently murdered by being hung, a family whose youngest daughter,
is still missing. Convinced he can solve the crime, that he can succeed where the police have failed, nothing and no-one will stop Ellison from
discovering the truth and writing his new book, a book that he’s sure that will set his family on the path to easy street. At least, he was convinced until
he stumbles across a box of home movies, a box of old 8mm films that show the murder in all its grizzly glory, and as he settles down to watch the
old films, he realises that it’s not just the one murder captured in film, these movies contain multiple murders, all linked together. The more Ellison
investigates, the digger he deeps, the closer he gets to the horrible, awful truth, a truth that once discovered, can never be forgotten, and it’s a truth
that neither Ellison nor his family will ever escape from. Blending elements of ‘8mm’, ‘Cigarette Burns’, ‘Poltergeist 2’ (the REALLY frightening one)
and ‘Insidious’ together with a original and chilling take on supernatural horror and fuelled by an incredible lead performance from Ethan Hawke ,
‘Sinister’ is the most fun I’ve had being scared since Carol Anne invited the TV people to come play, and it’s a film that’ll stay with you for a long, long
time. I think I’ll be sleep with the lights on tonight… Tim Mass Movement
Small Apartments (Stealth Media Group)
If, like me, you dig the hell out of bitter sweet, blackly comedic, quirky, intelligent, touching, character driven films, then ‘Small Apartments” could well
be your new favourite movie. Trust me, it really is that good, and yeah, if clever, funny and inspirational films have pride of place in the centre of your
universe, then you’re going to love it. It’s that simple. ‘Small Apartments’, at its heart is an ensemble piece, a film about the lives and relationships of a
small group of dysfunctional tenants who live in a run-down apartment block in Los Angeles, that focuses on Franklin Franklin’s (Matt Lucas) hilarious
attempts to dispose of the body of his abusive landlord, Mr Olivetti (Peter Stormare), which as the film opens, is lying in the middle of his apartment.
Franklin is just another average guy who refuses to wear anything apart his underpants and socks and shoes and longs to move to Switzerland. He
has a brother , Bernard (James Marsden), in a mental institution who sends him a cassette message and toe nail clippings in a package every day
and plays, much to the chagrin of his neighbours Tommy Balls (Johnny Knoxville, in a show stealing performance) and Mr Allspice (James Caan),
the alpine horn badly. Life for Franklin and his neighbours, is pretty much the same day in, day out (although Tommy does strive to achieve at least
one different thing every single day), until fate intervenes, and he has to dispose of the body, a disposal which goes catastrophically wrong, attracting
the attention of Burt Walnut (Billy Crystal), a fire inspector. As the net closes in on Franklin and the daily packages from his brother stop arriving, the
heart-breaking, tragic truth about the lives of Franklin, Burt, Tommy, Bernard and Mr Allspice gradually begins to emerge, and, as it emerges, the
threads of their lives gradually begin to unwind as they race toward their inevitable, individual destinies. As moving as it is funny, ‘Small Apartments’,
while highly reminiscent of the Cohen Brothers early output, forces its audience to question what is and isn’t crazy, and consider the fleeting nature
of life and how each and every single day should be cherished and treated as an adventure through its exploration of the seemingly mundane
and humdrum lives of people for whom each and every day is the same and when the status quo that they’ve become used to is challenged and
subverted, everything changes. Sometimes change is good, and sometimes change is bad, but for life to move on, it is undeniably, and absolutely,
essential, and it’s up to each and every single one of us to live now instead of endlessly waiting for tomorrow, because tomorrow never comes. I think
I’ve just discovered my newest, bestest guilt free pleasure… Tim Mass Movement
Zombie A-Hole DVD (dir: Dustin W. Mills; MVD Visual)
The one-man filmmaking team that is Dustin Mills – who serves as director, producer, writer, editor, actor, and more here, just as he did on his first
feature film, 2010’s The Puppet Monster Massacre – seems poised to become, at the very least, an indispensible figure in the world of cult horror with
the release of Zombie A-Hole. The film, which pays tribute to Lucio Fulci, Sergio Leone, and Sam Raimi in equal measure, reimagines the zombie
concept as a one-man kill-fest engendered by demonic possession through a voodoo ritual rather than a widespread massacre caused by an army of
virus-stricken flesh-eaters. Brandon Salkil stars both as good-guy Castor and as his twin brother, Pollux, who progresses from an insane serial killer
to the most well-dressed zombie in the history of the genre over the course of the film. The out-for-vengeance heroes of the film – who are dead-set
on destroying ‘that zobmie a-hole’ – are the brother/sister team of Frank and Mercy Fulci, portrayed by Josh Eal and Jessica Cook, respectively. Mills
himself shows up onscreen as the hilarious, tension-breaking Voodoo Bob, a shady dealer in voodoo paraphernalia whose anxious, mile-a-minute
explosions of dialogue are quite similar in style to those of the man behind indie film hero Silent Bob, Kevin Smith. Zombie A-Hole itself is a fabulous
indie film styled in the grand tradition of grindhouse, overrun as it is with scares and screams and gore and blood and shock and awe and, naturally,
gratuitous nudity. It’s got some extremely funny moments, too. Without giving anything away, I will state clearly that fans – like me – of Raimi’s classic
Army Of Darkness should – like me – find an extreme amount of enjoyment in the fight scenes, the dialogue, and the villains. Villains? Plural? Just
watch the film. It’ll all make sense, and it’s totally worth it! The visual effects and animation, which are provided by Dustin Mills and Sherriah Salkil, are
nicely done and are 100% CGI-free – automatically giving this film a 50-point lead on everything that’s come out of Hollywood in the past two decades
and on everything that the major studios are likely to produce until the actual zombie apocalypse comes and wipes away all traces of humankind on
the planet. Zombie A-Hole is entertaining from start to finish, and the music – score by Jared Kaelber and modern music selections by Slug – is used
to great effect, propelling the storyline and setting the moods of each scene. It’s way too cool for the mainstream, but I’d like to think that in ten years
or so, Mills will be soaking up the Hollywood lifestyle, fresh from the success of Saw XVIII or something of that nature, Zombie A-Hole will be the
most popular film in the soon-to-be-developed world of virtual reality instant-streaming (or whatever the equivalent of renting a damn video will be in
another ten years – hell, I don’t even know what the equivalent is right now). My point is this: Zombie A-Hole kicks ass. The DVD includes the original
trailer, a commentary track, and a deleted scene for all the true grindhouse lovers. The Impaler @impalerspeaks
Music
Acid Deathtrip – Acid Deathtrip (Reflections)
I was going to tell you that Acid Deathtrip are more or less a local band, geographically speaking. And although the individual members might very
well be mere humans, living nearby, but when these five obviously disturbed individuals join forces it’s the devil and his brides who start dancing on
their cloven hooves and do unspeakable, mostly sexual things to each other. It’s all about the sinister, sludgy groove, or the blasphemous boogie, as
they call it. You’re drawn into a party, with 1960s and 70s posters of half-naked ladies on the wall, lava lamps, smoke and other accessories giving the
room that special vibe. Not long after you will be in a blissful psychedelic trance, which gradually turns into a metallic nightmare from which there is no
escape. Now the best way to picture it would be thinking about Austin Powers being directed by George A. Romero. It’s all fun and games, until the
blood starts flowing, in thick blackened waves, much to the dark lord’s, and my, delight. Martijn Welzen
Antidote – No Peace In Our Time 12” (Bridge Nine Records)
Welcome return of the NYHC legends featuring Drew Stone (director of xxx All Ages xxx; The Boston Hardcore Film) on vocals. Ten tracks of quality
old school HC including a spirited take on the Black Flag classic ‘Rise Above’ featuring Roger Miret on vocals. Standout tracks - ‘The Hate Machine’–
a caustic attack on bitter nostalgic naysayers featuring a proper OS breakdown and the Negative Approach-esque ‘Time Is Right, Ready To Fight’.
You can’t teach an old dog new tricks but sometimes you simply don’t have to. Ian Pickens
Audrey Horne – Youngblood CD (Napalm)
If you are looking for something to blow the blues away and put a real positive vibe back into your mindset then Norwegians Audrey Horne are
just the ticket. The feeling of euphoria cannot be escaped at any point during ‘Youngblood’ as the songs flow with great anthemic structures and
choruses carried along by a huge vocal delivery from Toschie and perfectly layered guitars. There is a massive summer festival vibe during all the ten
songs present (and I bet it’s an album that can be played live also… no production tricks) this is balls out, honest rock n roll to the maximum level.
‘Redemption Blues’ opens up with a real sense of energy continuing along with the excellent powerhouse anthem ‘Straight Into Your Grave’ yet one
can almost sense an intensely present aura of effortless and a laid back calmness due to the excitement created. Audrey Horne are always going to
get ‘the guy from Enslaved’ mentioned, and it may grab some interest, but to be honest ‘Youngblood’ serves up the finest concoction of post grunge/
punk/high octane rock n roll your ever likely to here. UK dates happening around April, you’d be silly to miss out on these dudes. Mark Freebase
AYS – Suburban Haze MCD (Let It Burn / Acuity)
Things were already falling into place for this German band very early in their existance. It has even brought them to Asia and Australia for tours,
which is not all to common for European hardcore bands. And that’s the thing; AYS has something for everyone. It’s hardcore, punkrock and
metalcore, and up beat, aggressive and desperate simultaneously. Amazingly catchy, yet totally underground. They have managed taking the best
parts of all the greats in the genre. To celebrate the first decade of AYS we’re getting yet another treat; a five-track cd which shows the current, high,
standard this band as achieved. Martijn Welzen
Bad Powers – Self Titled CD Album (The End Records)
Insidiously sinister; snaking and slithering through your cerebral cortex like Siouxsie and the Banshees in their post-punk prime fused with the
experimental heaviness of The Jesus Lizard. Featuring no less than three former members of Made Out Of Babies plus impressive vocalist Megan
Tweed. From opening track ‘New Bruises’ to closer ‘Bread and Butter’ Bad Powers have harnessed the dark beauty of Goth and injected it with the
dysfunctional metal of Neurosis to create a disturbing, beguiling body of work. If you are going for Avant-Garde then do yourself a favour and check
out this album as an example of how to do it properly. It will take a lot to push this out of my Top Ten for 2013. Ian Pickens
Blasted – Exposed/Time To Die 7” VINYL and DIGI DOWNLOAD (Dry Heave Records)
Another great release from the newly formed Dry Heave label. Carrying on from their first release the choice of two coloured splattered vinyl versions
is available which also includes a free digital download code, so you get the pleasure of the product, plus i-pod ready options also if you are that
way inclined. Blasted feature members of Winnebago Deal and Mondo Generator and this newly formed band belt out four songs of old school punk
hardcore, but note, not a metalcore guitar insight! The vicious vocals are spat so furiously your Nan would shit herself, but it’s the underlying melody
carried through the whole of this e.p. which makes that old school sound so appealing. There’s a classic punk rock guitar sound, fast and raw that
carries Blasted’s sound – think Circle Jerks, Black Flag and G.B.H all rolled into one and angry because of the cocktail! These boys are fast, furious
and full of frenzy as the title track ‘Exposed’ demonstrates. ‘Empty Head’ does no different either and displays a precision skank tune to keep the vibe
going. You should really check out the amazing video on YouTube for ‘Time To Die’ to benefit this fast as fuck anthem and capitalize on the impact
Blasted expose the listener to, whilst final track ‘Warzone’ brings a distinct Poison Idea feel to the music. Blasted are ahead of the pack in this genre
and they’re U.K. to boot. Mark Freebase
Bring To Ruin – Self Titled CD Albums (Boss Tunage)
This Welsh four piece have been making waves on the live scene for quite some time now; so the question is can they transfer that feral aggression
onto record? Thankfully the answer is a resounding yes. From the moment this thirteen track opus kicks off BTR command your attention with some
searing snotty HC. Vocalist Ross positively spits his frustrations out with a passion missing from many bands these days and is backed up by some
of the most ferocious hardcore you will hear this year. The drumming is barely under control underpinning some serious chunky riffing from ex In The
Shit six string abuser Paul Payne and bassist Dave. An absolutely essential slice of hardcore punk. Ian Pickens
Cathedral – The Last Spire – CD Album (Rise Above Records)
And so we come to it; the final release from one of Doom Metal’s most enduring/endearing entities - Cathedral. Opening with the harsh calls of carrion
crows and cries of ‘Bring out your Dead’ before seguing into vintage Cathedral on ‘Pallbearer’, the band bow out as they came in, slower than a slug
soaked in concrete and as crushing as an anvil dropped on your fingers. Cathedral took Doom beyond the traditional confines of Sabbath riffery and
Petagram-esque 70s retro, slowed it down and injected it with a twisted psychedelia, without compromising its heaviness. The band evolved from
its earlier discordancy on ‘Forest of Equilibrium’ to the prog rock laced ‘The Guessing Game’ but on ‘The Last Spire’ the band seem to have chosen
a return to their roots, particularly on the weighty title track and ‘Infestation of Grey Death’, albeit with some nifty social commentary in the lyrics
department, and a nod to prog in the lengthy ‘An Observation’ (replete with some ‘Rainbow Rising’ style keyboards), before bowing out with the
funereal ‘This Body, Thy Tomb’. Good to see the band go out on high, even though it’s a low; if you see what I mean. Special mention for cover artist
Dave Patchett, who once again delivers the goods with a beautiful piece. Ian Pickens
Come The Spring - Seven For A Secret CD (Engineer)
This is the debut release from this ex-Rydell and My So Called Life band from Brighton. Considering these guys only got together in 2012 this is a
really impressive debut, although knowing Rydell’s rich history this isn’t a massive surprise. It’s fair to say these lads wear their influences on their
sleeves so I’ll just come out with it - Texas Is The Reason. These guys have a lot in common with that classic Revelation records supergroup - jangly
guitars, powerful rhythms and some great soulful vocals. Honestly I only got this a couple of days ago, but it’s been a permanent fixture on the
player ever since and the choruses are already firmly lodged in my head. I’m really happy this kind of post-hardcore seems to be making a bit of a
resurgence, and alongside Bedford Falls these guys are right up there. I loved the likes of Sensefield, Texas ITR, Farside, Samiam, Jawbreaker, early
Jimmy Eat World and so on, I could go on forever, and these guys really pick up the gauntlet where those guys left off. My only slight reservation
is with the song “Readbeforeyouwatch” which veers slightly from the course and is a heavily Quicksand-influenced tune. Nothing wrong with that
whatsoever, but it does break up the flow of the other songs. This is a minor blip though and this is a record I’ll be revisiting time and time again. Great
work! Tom Chapman
Cyanide Pills - Still Bored LP/ CD (Damaged Goods)
Leeds’ finest the Cyanide Pills return with their second album and a whopping 17 new hits. And I do mean hits, as the ‘Pills follow the same addiction
to producing 7” singles that various other Damaged Goods bands do - as a result each of these two to three minute anthems is designed with instant
gratification in mind. The tracks roll off the press one after another in quick succession, no slow burner album tracks on here! Although some of the
song titles like “Formica” suggest a quick wipe-clean throwaway approach, these songs have lasting potential and are designed to be played over and
over. They specialise in short and sweet punk rock anthems that bring to mind the The Adicts, Spizz Energy or 999 at their bounciest, but the lads
also have a couple of surprises up their sleeves, for example “Lock Up Dub” which is a new take on an old EP track, or “Teargas” which is a huge
glam boot stomper. Great stuff that should delight fans old and new alike. Tom Chapman
Deadline - Where Were You CD (New Blood/ Pirates Press)
I have followed Deadline’s musical right from the early days when it was a Knuckledust and Gundog side project with the release of their excellent
debut 7” “TV Dreams” back in 2001 all the way through to their most polished work so far, 2010’s album “Bring The House Down”. With a long
recorded history behind them this is a well-deserved best of collection. It run chronologically, starting off with the energy of “TV Dreams” closely
followed by “IT Girl”, one of the highlights from their debut album. Most of their live favourites make an appearance on here too. As you progress
through the album you can hear their sound evolve and mature, in particular Liz’s vocals go from strength to strength and whilst each album has taken
me a little by surprise as they slowly moved away from their early streetpunk style, the collection flows beautifully on here. I’m a sucker for melodic
punk with good female vocals and for me these guys are the best of the bunch and this album is a real pleasure to listen to. I get the impression that
Deadline are under-appreciated in the UK whereas they have had great success touring the USA (with Chip Hanna from the US Bombs stepping in
to help out when their drummer was refused entry into the country!) and on mainland Europe, in particular getting a great reaction in Germany and
Czech republic, hopefully this will get the attention it deserves everywhere. Tom Chapman
Desecrator – Subconscious Release CD (Mosh Tuneage)
I can fully understand why the original LP from 1991 is highly sought after. It’s not a world shocking release by any means, and wasn’t back in the
day, but there’s just something about ‘Subconscious Release’. It used to be the perfect record to drive your parents insane, with its primitive Autopsy
/ Death deep growling sound and it’s amazing artwork, by Dan Seagrave, which, not totally coincidentally, reminded me of Morbid Angel’s ‘Altars Of
Madness’ also really stands out. Old school metal heads, like me, are now picking up these releases again, the ones with that specific vibe, the grunt,
the woolly drums and that gloomy feeling of yesteryear. Metal has changed quite a lot over the years, but Mosh Tuneage has arrived to resurrect the
heroes of old, and the fact they’re now slowly decomposing only adds to their overall character and makes the record even more engrossing...
Martijn Welzen
Droids – s/t EP CD (droidsmusic.bandcamp.com)
Finally. These are the Droids I am looking for. (I couldn’t resist. What’re ya gonna do ?!) Droids are a 4-piece band of riff-mongers from Londonderry,
Northern Ireland. What kind of riffs ? Massive riffs. Thick and sludgy here, dense and colorful there. Always bigger than life. Melodies abound as well,
and in this way it is not difficult to compare Droids to their countrymen Therapy ?, a long-time favorite of mine, but there is more going on in Droids’
sound than simply paying homage to Therapy ? – much more. ‘God Doesn’t Grant A Steady Hand’, for example, features a straight-up funk bassline
and an NYC-post-hardcore meets QOTSA structure that works on multiple levels, as unlikely as that may seem upon reading it. ‘Recognizer’ adds
dense layers of vocals that form dancing melodies designed to lull the listener into a place of calmness and comfort while the drums and bass and
guitars work on pummeling the senses into submission. ‘Astromech And Protocol’ takes a similar approach, but in a choppier fashion and with more
hardcore overtones. After taking this 5-song EP for at least a dozen spins, I’m inclined to say that the closest act I could associate with Droids would
be earthtone9, and that is high praise indeed, believe me. I am always on the lookout for music that hits on key points like memorable, hummable
melodies; original conepts among a sea of competition; and groove-laden heaviness – things that make for an enjoyable listen under any set of
circumstances. By hitting all of these marks and more – and with a self-released debut EP, no less! – this band has proven that, again, they are the
Droids I am looking for. The Impaler @impalerspeaks
Fang – Here Come The Cops CD (Malt Soda)
One of the great things about being a ‘born at the right time’ member of the US hardcore generation is that even when I have realizations like ‘wow, it
was 30 years ago that Fang released their first record’ (the indispensible ‘Landshark’), they are always immediately followed with realizations like ‘what
the hell does that matter?... because Fang are still putting out top-notch records and I’m still cranking ‘em up with as much gusto as ever’. And that pretty
well sums up my thoughts on ‘Here Come The Cops’, Fang’s first album of all-new material since 2000’s ‘Fish And Vegetables’ EP – not counting their
fantastic contribution to the ‘Taking Out A Little Agression’ compilation, released in 2007 to pay tribute to the almighty Agression and also featuring my
beloved JFA. Sammytown’s vocals have never sounded better, and the current rhythm section of Jamey Dangerous (drums) and Scary Larry (bass)
keep everything in the pocket in true early 80s crossover fashion. The guitars on this album are a real treat, with Mat The Kid and J. Stain being joined
by original guitarist (and founder of Boner Records, probably the most important record label, for me, um… ever) Tom Flynn on ‘As Much As I Hate
You’. (Flynn also wrote two killer songs for this record: ‘Good Bye’ and ‘Bedtime Story’.) For those who’ve, sadly, never heard a Fang record, just go
ahead and pick this up – along with copies of ‘Landshark’ and ‘Where The Wild Things Are’, at the very least – for an instant hardcore history lesson.
‘Here Come The Cops’ is nothing if not a Fang record. The only aspect of this record that would seem out of place in 1982 is the song ‘Stop Bleeding’,
which features a Samhain-era Glenn Danzig-ish lead vocal laid atop a throat-shredding metalcore-ish backing vocal and a musical backdrop that injects
a heavy dose of speed metal into the proceedings. Otherwise, the band rages through California crossover with doses of street punk, as they always
have, on one fantastic track after another. From the ultra-pissed-off title track to my personal favorite, ‘Burn Hippie Burn’, to the two bonus cover tracks
– The Jim Carroll Band’s ‘People Who Died’ and Girlschool’s ‘Let’s Go!’ – this record slays and grinds as much as anything else in the band’s storied
discography, and way more than nearly anything else claiming to be hardcore that is coming out these days. All hail Fang! The Impaler @impalerspeaks
Flatfoot 56 – Toil CD (Paper + Plastick Records)
I had to take a couple of deep breaths before starting this review, to keep me from hyperventilating while furiously putting a stream of thoughts onto
the page. In that spirit, let me start with a few thoughts on track 11 of this 13-track album: ‘This Time’. Lyrically, this song awakens my emo side with
its heartfelt depiction of the pain of latch-key kids. Musically, this song calls to mind the glory days of posi-core, when 7 Seconds and Gorilla Biscuits
and the much-beloved Redemption 87 were actively giving us all the confidence that everything would be all right, seven inches of vinyl at a time. I’m
an album guy, not a song guy, so for me to hear a song in the midst of an album and stop everything to rewind and listen to it – seven straight times
– before getting back into the groove of the album as a whole… well, there is something special about that song. ‘This Time’ is the anthem – well,
my choice anyway, because this album is chock full of anthems. Flatfoot 56 would fit perfectly on a day spent listening to melodic hardcore – heavy
emphasis on ‘melodic’; these guys know their way around a hook like a team of guitar-wielding Jedi knights – like Lifetime, Kid Dynamite, Turning Point,
Bad Religion, and Dag Nasty, to reference five favorites of mine in an attempt to describe the band’s basic blueprint in terms of comparisons chosen
with the best of intentions. Have I mentioned the Celtic elements? Flatfoot 56 set themselves apart from all the bands I’ve referenced above, and
from all the other bands on the scene today, with their songwriting and musicianship and overall approach – meaning that this band has its own thing
happening, and they excel as the clear leaders of this one-band-scene called Flatfoot 56 – and a key element to that originality is this amazing amalgam
of the aforementioned melodic hardcore with traditional Celtic folk influences. Would it be unfair to offer comparisons to The Pogues or Flogging Molly
or Dropkick Murphys? No, not as such… but I don’t feel that it would be entirely accurate either. Sure, there may be a few recorded moments here
where Flatfoot 56 dip into the Irish Punk 101 handbook – ‘Toil’, like its predecessor (‘Black Thorn’) was produced by Johnny Rioux of Boston’s Celtic
punk champions Street Dogs, after all – but my mind wanders more toward thoughts of folk-punk troubadour extraordinaire Billy Bragg, as the songs –
lyrically, structurally, thematically – reveal a level of maturity and a sense of place, of purpose, of understanding that seems at least one step removed
from the angry-and-rebellious-youth nucleus of punk rock. The Bawinkel brothers – Tobin (vocals/guitar), Kyle (bass/vocals), and Justin (drums/vocals)
– and two multi-instrumentalists, Eric McMahon (bagpipes/guitar/bass drum) and Brandon Good (mandolin/guitar/vocals) are Flatfoot 56. And Flatfoot 56
have shown with ‘Toil’ – featuring, as I mentioned above, anthem after anthem: ‘Strongman’, ‘I’ll Fly Away’, ‘Live Or Die Trying’, ‘The Rich, The Strong,
And The Poor’, ‘Brother, Brother’, ‘Winter In Chicago’, ‘This Time’ (‘This Time’!), the title track – that punks can grow up without getting old, without
getting tired; that punks can not only maintain relevancy but actually increase it tenfold or more, with a collection of songs that I daresay equal those
of Bob Dylan or Steve Earle or Bruce Springsteen, a collection of stories set to music that tell the stories of ordinary people struggling to find their
places in the world and not just exhibiting the courage and conviction to do so but also providing a lighted pathway for listeners to do the same.
The Impaler @impalerspeaks
Free Fall – Power And Volume CD (Nuclear Blast)
This is the album Plant and Page should have made… had they continued on together. ‘Power And Volume’ is exactly that as it delivers without any
doubt ten songs of contemporary sounding Zepp! Opening title track ‘Power And Volume’ puts a modern day feel on a very classic sound, but in such
a high-class way whilst you also have the (Zepp) Rock n Roll swagger of ‘Top Of The World’. Vocal cries of excitement executed from Kim Fransson
offer screams of power combined with a harshly soothing melody making an uncontrollably sensational 46 minutes of balls out rock n roll. From the
gentle Kashmir strum of ‘Attila’ through to the craziness of ‘Love Bombing’ or the slow heavy rocker ‘Damnation’ the listener is soothed by a John Paul
Jones rumbling bass feel sitting alongside a snapping cymbal and snare assault; these Swedes are no carbon copy, they simply pick up the torch
from where it was dropped and continue with such convincing ease. Bear in mind though the gut wrenching guitar tone of ‘Meriola Blues’ wouldn’t fit
uncomfortably on an early AC/DC album - and just try not chanting the chorus! Mark Freebase
Gama Bomb – The Terror Tapes CD (AFM)
The Irish thrashers return with their 4th release, and first for Germany’s premier AFM label; instantaneously creating a bigger splash than the last
wave of ‘Tales From The Grave In Space’… with the acceptance of new guitarist John Roche it’s (crazy) business as usual as Gama Bomb execute
a prime piece of thrash feasting where the listener will gluttonously indulge in twelve tracks of fast paced no nonsense metal. Philly Byrne’s vocals
remind me incredibly of Blitz (Overkill) as he precisely commands his troops alongside a sound somewhat reminiscing of Agent Steel, Anthrax and
the clearer delivered side of thrash. Speed is a thing Gama Bomb have become very precise with and during ‘Metal Idiot’ they turn out a tune on par
with S.O.Ds ‘pussywhipped’. The likes of ‘Beverly Hills Robocop’ keeps the fun pumping, and during the electronic voice-over it creates a nostalgic
memoir with the party songs ‘Legend Of Speed’ and ‘Smoke The Blow With Willem Dafoe’ intensifying why Gama Bomb are a slab of premiere thrash
metal for the new millennium. Production is once again handled by friend Scott (Stampin Ground) Atkins and creates a sonic headbanger of an album
capturing the true spirit of a great musical genre. Check out the video for ‘Terrorscope’ http://www.youtube.com/watch?v=tC5ljfysYGY be prepared to
slam! Mark Freebase
Hierophant – Great Mother, Holy Monster CD (Bridge Nine)
We are all children of mother earth. We depend on our mother for food and shelter. How strange is it that day by day we rape, pollute and maim the
very planet we depend upon? Italy’s Hierophant are struggling with that same question, and the answer they provide is nothing but bleak and ugly.
Wading knee-deep through mangled entrails of blackened hardcore songs, you will feel darkness descending onto our pityful lives. You might have
guessed by now Hierophant’s, Bridge Nine debut, is not a particulary cheerful album. No, it takes us to the extremes. To places not even Integrity
dares to wander. It’s that special place of misantrophy, aggression and despair, only very few can survive. Hierophant not only live there, but they
make excellent music and dance on our shallow graves. Martijn Welzen
Iron Reagan – Worse Than Dead CD
Fuck me. Fuck me. Fuck me! This is GOOD! Iron Reagan makes me want to skank and slam like I did back in the late 80s…
‘Worse Than Dead’ is a party hard thrash-core platter of 19 songs belted out in just under 25minutes. Iron Reagan don’t mince their words and aren’t
afraid to speak their minds (just like back in the old days, before the PC brigade came along) as the likes of ‘I Predict The Death Of Harold Camping’,
‘Cycle Of Violence’, ‘Rats In A Cage’ and ‘Eat Shit And Live’ fire out sharp vocal bursts from Tony Foresta backed by superb old school choruses
giving off a nostalgic Nuclear Assault / D.R.I. vibe. Any lover of thrash/hardcore/old school or punk is going to dig Iron Reagan so much. Featuring
members of Darkest Hour and Municipal Waste you can imagine some of the intensity created here. I haven’t heard a crossover record this good in
years! Mark Freebase
Joey Cape – Bridge (Destiny)
Who’s a true hero in music? The one going on stage, acting like a maniac, playing the loudest music possible, and spreading an intelligent message?
Or the sole artist, with only his guitar and voice, giving the world a true insight in his personality, sharing only his emotions. Joey Cape did both
actually. He paved the way and paid more than his dues with the great Lagwagon, one of the most important punkrock bands of the 90s and beyond,
but took more than just a step back with ‘Bridge’, his first solo album. He’s right here, right in my living room, singing his very personal songs directly
at me. He doesn’t know me, but he’s still willing to share his thoughts and music with a total stranger. His music is about life really, it’s that simple.
Martijn Welzen
Joey Cape / Jon Snodgrass – Liverbirds (Destiny)
With ‘Bridge’ Cape’s solo album, he didn’t have to take into account that his inner most feelings had to be directly understood by other musicians.
Having your friend, and in this case Jon Snodgrass of Armchair Martian on your right side, communication is the key to make it work. And it does
work! The two punkrockers have an amazing bond on ‘Liverbirds’. And I personally think it even has more depth as, even though it’s acoustic, it rocks,
in a folksy sort of way. And this duo does not hold back on their love for The Beatles, which is pretty apparent in both title of the cd and the layout.
There’s a nice flow in each and every song, which are stipped down versions of Lagwagon and Armchair Martian songs. I am amazed by how well it
all worked out. Martijn Welzen
Lordi – To Beast Or Not To Beast CD (AFM Records)
To most Lordi will be remembered for winning the Eurovision Song Contest in 2006 – a triumph for rock in a disastrously awful pop swarmed
manifesto. Here with their new release on Germany’s premier label AFM the rock and metal undertones are increased as the carnage of opening
track ‘We’re Not Bad For The Kids (We’re Worse)’ transcends into premium kick ass rock ‘n’ roll with heavily tinged metallic guitar licks. It’s top of the
game shock rock that Lordi deliver; if you can think Alice Cooper blended thoroughly with Kiss and taking a rock ‘n’ roll pinch of Twisted Sister you
should easily get the vibe and feel across the entirety of ‘To Beast Or Not To Beast’ with Mr Lordi’s vocals giving a gruff (but melodic) appealing to
those tempted more by the dark side. The ghoulish horror content of ‘Horrification’, ‘Happy New Fear’, Candy For The Cannibal’ and ‘Schizo Doll’ are
thrown from the speakers with dutifully heavy guitar riffage and mounted on a solid performance from new drummer Mana, whilst the listener is also
treated to monstrous (no pun intended) backing vocals during the metallic ‘I Luv Ugly’ and confirms the fact that Lordi provide the ultimate soundtrack
of sing-a-long shock ability. Sure the comedy value is there, but think of it from a theatrical point of view and unlike Gwar, Lordi do have the music and
songs to back up the image so any doubters get your head past the Eurovision tag and take a listen for what Lordi really do deliver – classic metallic
SHOCK rock. Mark Freebase
Marching Orders - Living Proof LP/ CD (Pirates Press)
Over the last few years there has been a good influx of streetpunk and oi! bands from Australia with the likes of Rust, Thug, The Corps and
Mouthguard making names for themselves and pretty much on top of the pile is Marching Orders. A mate of mine put me onto this band a while back
blasting them out of his car stereo on a long road trip, so I was most pleased when I heard about this new album. A lot of the Aussie oi! bands lean
fairly heavily on their own musical heritage and inject a big dose of Rose Tattoo into their sound but Marching Orders have more of a European sound
with some really melodic guitar work and big choruses bringing to mind the best of Oxymoron and Discipline. The album is a definite grower, on the
first couple of listened it sort of passed me by, but slowly the songs started to get under my skin and the likes of “Living Proof”, “Nothing To Lose” and
“Rich Man” are nothing short of modern day streetpunk classics. The album benefits from a solid production, powerful vocals and a great twin guitar
approach. They aren’t afraid to vary their sound a little, with the occasional acoustic guitars in the background adding depth and texture. This one’s a
keeper. Tom Chapman
Murder Construct – Results CD (Relapse)
A death metal supergroup?! Like a really, really scary version of ASIA?! Well, yes, actually. Murder Construct is a self-described American death-grind
band comprised of vocalist Travis Ryan (Cattle Decapitation), vocalist/guitarist Leon del Muerte (Exhumed, D.I.S., ex-Impaled, ex-Phobia), guitarist
Kevin Fetus (Watch Me Burn, Fetus Eaters), bassist Caleb Schneider (Bad Acid Trip), and drummer Danny Walker (Intronaut, Exhumed, ex-Jesu,
ex-Uphill Battle) – so you know they’ve got chops. On ‘Results’, the band’s first full-length and second release overall – they put out a self-titled EP
in 2010 – Murder Construct unleashes 29 minutes of terror over the course of 11 songs, the longest of which is the epic (for them) ‘Resultados’, a
track that contains roughly four minutes of grindcore madness tempered with two-and-a-half minutes of instrumental beauty that must be heard to
be believed. Both grindcore and death metal are entirely hit-or-miss affairs with me, with the dividing line always coming down to how believable
and listenable I find the vocals to be. Happily, Cattle Decapitation are on that short list (along with Brutal Truth, Origin, and a few others) of grindcore
bands for which I’ve always had a soft spot, and Ryan’s vocal performance here is nothing short of phenomenal. Couple that with del Muerte’s added
vocals – though I’m not sure which is doing the thoroughly enjoyable non-DM vocal parts – and we’ve got a grindcore album that I can get behind and
happily spend time with. Despite my obsession with vocals, I am all too aware that with music this fast, heavy, and intricate – and this is extremely
technical stuff, no mistake – the drum, bass, and guitar parts must be executed with absolutely no margin of error. I’ll happily give primary credit to
Walker – hey, he was in Uphill Battle, a band who not only put out two albums that I love to pieces but also dazzled me in the live environment on
multiple occasions – for throwing down one of the best extreme metal drum performances I’ve heard on a record in a long, long time. That’s not to
take anything away from the stringed instrumentalists, of course; the riffs are flying by in such a fast and furious manner that it’s nearly impossible to
latch on to one before two more have taken its place, and every note not only knows its place, but is too terrified of what these guys might do to it to
shift even a little bit up or down or left or right. The Impaler’s verdict: Murder Construct have delivered a happy surprise for me in the form of an album
that wasn’t even on my radar until it came out but has immediately earned a place in my ‘gotta keep playing this – a lot – even after the review is done
and dusted’ list. The Impaler @impalerspeaks
Political Asylum – Window on the World/How The West Was Won CD Albums (Boss Tunage)
Another lost gem from the annals of UKHC gets the recognition they deserve courtesy of Boss Tunage. Like Revulsion, Scotland’s PA were not as
well known as many of their peers in the late 80s/early 90s HC scene despite forming in 1982 and possessing one of the most unique sounds in the
UK DIY anarcho-punk-HC scene. ‘Window on the World’ features the full album from 1990 plus bonus tracks from the ‘Solitary’ 7” and the bands track
from the ‘Tearing Down The Barricades’ comp. ‘How The West Was Won’ comprises the bands final 10” release from 1992 plus a live set from 924
Gilman Street from 1989. It’s melodic but in a good ‘Dag Nasty’ kinda way rather than the usual 90s pop punk sound, possessing a mellowness that
many bands from that time eschewed. The band also stood out for the personal introspective nature of their lyrics rather than treading the traditional
anarcho lyrical footpaths. Passionate and positive; Political Asylum were one of the most life affirming UK hardcore bands and well worth checking
out. Ian Pickens
Revulsion – Self Titled CD Album (Boss Tunage)
Now this is a blast from the past. One of the first hardcore/punk comps I bought as a kid was the Peaceville album ‘A Vile Peace’ featuring the
Revulsion track ‘Another Bloody War’ which stood out as one of the best tracks due to the fact that the band were technically better than many of their
peers especially at high speed, and incorporated an eclectic mix of influences (from metal tinged speedy hardcore to an almost emo/indie sensibility).
Lyrically the band leans towards many of the preoccupations of the anarcho HC scene (animal rights/vivisection, war, inequality etc.) and musically
span the chasm between Subhumans (UK) and Shudder To Think/Dag Nasty style melodic ‘emo’ hardcore. Featuring the Vile Peace track, plus
the bands tracks from the ‘Consolidation’ split, ‘The Only Revolution’ 7” and several other unreleased/comp tracks. A nice compilation of one of the
UKHC’s more interested and sadly less celebrated bands.Ian Pickens
Scott Kelly & The Road Home – The Forgiven Ghost In Me CD Album (My Proud Mountain Records)
Following on very much from Kelly’s collaboration with fellow Neurosis member Steve Von Till and Shrinebuilder cohort Wino on their ‘Songs of
Townes Van Zandt’ project, and with elements of Kelly’s Blood and Time project; this is a slice of American folk stripped to its bare bones, comprising
of Kelly’s rich baritone voice accompanied by doleful acoustic guitar; with additional input from Neurosis keyboard player Noah Landis and Greg Dale
on guitar. As with Van Zandt, the emphasis here is on loneliness, isolation & loss, and is perfectly captured by the Spartan guitar work and Kelly’s
emotional delivery. Beautifully bleak .Ian Pickens
Send More Paramedics/Gallows/Feed The Rhino/Wounds – Unearthed: Possessed 10” Vinyl (In At The Deep End Records)
50th record release from IATDE and it’s a bit of a gem. 10” red vinyl featuring four rare/unreleased tracks by everybody’s favourite Zombie Thrashers
Send More Paramedics plus SMP covers by Gallows, Feed The Rhino and Irish newcomers Wounds. SMP need no introduction really – one of the
standout acts from the new generation of Crossover Thrash bands – they unleash a re-recorded version of ‘Zombified’, a cover of My Wars’ ‘100
Fighting Dogs’, an outtake track from ‘The Awakenings’ album (‘Revenants’) and live favourite self titled tune. Gallows, Feed The Rhino and Wounds
all perform pretty decent takes on SMP songs (‘Zombie Crew’, ‘Blood Fever’ and ‘Sever’ respectively) putting their own modern hardcore slant on the
tracks without losing the essence of the songs. This is a no-brainer really; get it. Ian Pickens
Serpentine Path – s/t CD (Relapse)
While I am not a huge fan of the death metal vocal style in general, I am well-versed enough to recognize and understand that it can be employed in
varying shades of obnoxiousness, and sometimes to great effect, as it here courtesy of Ryan Lipynsky, who is best known in the underground world
as not just the vocalist but also as the guitarist for the much heralded (though now sadly defunct) doom trio Unearthly Trance. In fact, Serpentine
Path is Unearthly Trance (Lipynsky just provides vocals here, while Darren Verni and Jay Newman continue their roles as drummer and bassist,
respectively) – with the addition of Tim Bagshaw on guitar. Yes, that Tim Bagshaw (are there others?!). He of Electric Wizard and Ramesses. When
it comes to metal that is truly extreme, truly sick, truly punishing, and still completely engaging and listenable, it seems to me that it generally comes
from one of three key places: New Orleans (Eyehategod come immediately to mind), Japan (Church Of Misery, for example), or the UK (mentioning
Iron Monkey and Electric Wizard here should be sufficient). Sure there are outliers (Grief was from Boston, Buzzov-en were from Wilmington, North
Carolina), but as a general rule it seems fairly well-trodden. While I was never a head-over-heels fan of Unearthly Trance, I was never against them
in any way, either. I always had, in fact, a real appeciation for what they were doing. And what the three members of that band, with the addition
of Bagshaw, of course, are doing now as Serpentine Path is… well, it’s actually awe-inspiring. The way that the ‘normal’ metal riffage found on the
opening few measures of a track like ‘Obsoletion’ lies next to the impossibly slow guitar mangling that is the entirety of ‘Beyond The Dawn Of Time’,
for example, is admirable, sure… but it is more than that. It’s damn near genius. And while Lipynsky does throw a dash of death metal into the mix
with his throat, he isn’t swallowing the mic and he doesn’t go for a cartoonishly ‘evil’ sound; he simply grunts and growls in the fashion of Cronos
(Venom) or Mike IX Williams (Eyehategod) – and he does so sparingly, allowing the hypnoitic rhythms of Verni and Newman, and the dazzling
guitar-work of Bagshaw (wait until you hear the bastardized Iommi-isms throughout ‘Aphelion’!) to carry the bulk of the load. The Impaler’s verdict:
Serpentine Path has crafted an album that I can turn to when the heaviest, slowest, nastiest thing I could think of otherwise just won’t do, and when
the world feels bleak and lonely, that is a very, very good thing indeed. The Impaler @impalerspeaks
Six Feet Under – Unborn CD (Metal Blade)
The follow up to last May’s ‘Undead’ proves to be as brutally convincing a record as ever. Chris Barnes’ powerful vocal assault lays waste during
opening track ‘Neuro Osmosis’ even though it’s gentle conception of calm morphs from within my speakers before the mutant gestates into a
monstrous boom of slow, heavy and very intense death; whilst ‘Prophecy’ kick-starts the classic S.F.U. savage and barbaric tone right back, ripping
you a new arsehole. With a newly overhauled line up (but still featuring guitarist Steve Swanson) compounded by members of Dying Fetus, Misey
Index and Chimaira, the listener is treated to eleven cuts of primary death metal – a headbangers dream for sure! ‘Zombie Blood Curse’ sums it all up
really, with a steady skull crushing beat and immensely guttural vocals; whilst the intensely trancing pull of ‘Fragment’ draws you deeply in… definitely
more of an atmospheric feel to this release. Having said that, the straight forward fast beat death thrasher ‘Alive To Kill You’ or the echoing bass
rumble created during ‘Inferno’ make for a more rhythmic sounding death metal release but without losing any of the above said qualities. Everything
about Six Feet Under proves they are brutal – I bet a lot of emo kids will even shit themselves just reading the song titles! Mark Freebase
Smalltown - XII LP/ CD (Pirates Press)
I’ve seen the name Smalltown all over the place but this is my first exposure to the band. I kinda knew I would like them, with previous releases on
some great labels like Deranged and Combat Rock as well as tours with the likes of Statues I thought this would be up my street and I wasn’t wrong.
Those labels have been responsible for producing some fine power-pop-punk bands and this Swedish power trio fit the mould perfectly. Bands like
The Undertones, The Jam and The Chords were instrumental in pioneering a sound and it’s great to see bands of today such as Smalltown and the
Cyanide Pills using these foundations and creating something exciting and fresh sounding. It is well worth mentioning the package of the vinyl release
of this record too - as you may be aware a Pirates Press release is not normally your standard LP in a sleeve, and the package here includes a 12”,
CD and a CD-record! Tom Chapman
Snakecharmer – Snakecharmer CD (Frontiers Records)
From the opening acoustics of ‘My Angel’ you just know this album will be a CD full of pure classic rock. The pedigree of musicianship here is
outstanding… Snakecharmer boasts (and rightfully to) a line up of Micky Moody (Whitesnake), Neil Murray (Whitesnake and Vow Wow), Laurie
Wisefield (Wishbone Ash), Harry James (Thunder + Magnum), Adam Wakeman (Ozzy Osbourne band) and Chris Ousey (We Will Rock You). All
quality musicians in their own right; so put them together and imagine the blues of early Whitesnake (obviously) with Chris’s melodic vocal topping
(akin to Foreigner) and a classic Keyboard tone embedded in the songs, courtesy of the mighty Wakeman’s son, Adam. The vibe of the drumbeat
plus the licks and riffs from both guitarists, mixed perfectly amongst a great production give the listener 11 tracks that live up to the expectation and
deliver more! There’s parts of each song that will be lapped up instantly by every Whitesnake fan, even the keyboard sound fits a tone not a million
miles away from the great John Lord (R.I.P.) but finished with the instantaneous sing-a-longs Snakecharmer prove they can stand on their own and
deliver an album full of songs creating a contemporary sound whilst taking the best parts of past experience. It is also a great relief not to hear any rehashed ‘Snake’ classics – these guys don’t need to do that. Every song flows with a classic grace, making it hard to pick stand out tunes, proving the
credibility of song writing and quality of tunes this self-titled CD offers. The i-tunes version also includes a bonus track ‘White Boy Blues’, and it’s all
rockers and no ballads for these guys. Mark Freebase
Snuff - 5-4-3-2-1 Perhaps? LP/ CD (Fat Wreck)
Stone the crows and gor blimey guv’nor, who’d’ve thunk it - it’s a new Snuff album innit! Well Duncan and the lads have got back together and
come up with a new set of corkers. I’ve been a fan from the beginning, from their debut EP and still a classic today “Not Listening”, through the Peel
Sessions and great records of the early line-up into their second phase when they were knocking out the hit albums for Fat Wreck throughout the mid
nineties and the subsequent releases which were more sporadic in the years since. This has all the trademarks that make Snuff stand out from the
crowd and I’ll never get tired of their unique mix of punk and hardcore with a little bit of everything else thrown in. Duncan’s vocals are immediately
recognisable and damn he just writes the best vocal melodies, as demonstrated to perfection on “There Goes The Walzinblack” and “Bones For
Company”. The hammond organ and trombone make welcome appearances here and there, in particular the bouncy “EFL” which wouldn’t sound out
of place on a Madness album. It’s great to a new album from these statesmen of their generation and much like Leatherface with their latest release,
they have proved that they are still very much a force to be reckoned with. (Tom Chapman)
Storyteller – Take Me Home (Acuity Music)
What does work on a 7”, only three songs, looks a bit poor with a download. Storyteller has arrived at the right time though. The sun is slowly but
steadily pushing aways the snow and cold and some positivity is needed. This young German band is giving their own intepretation of melodic
punkrock. Not entirely original, but well-crafted. Martijn Welzen
Street Dogs - Crooked Drunken Sons 7” (Pirates Press)
Mike McColgan and his band of merry men are back with a great 3 track EP. Hot on the heels of their US election campaign EP “GOP” (a version/
cover of the Menace classic “GLC”) and the forthcoming EP “Rust Belt Nation”, the Dogs are knocking them out in fine style - not bad for a band that
is supposedly taking a break! If recent records have headed more down the political route this EP is crammed with drinking tunes, two originals and
a rousing cover of the Uncle Tupelo tune “I Got Drunk” and all three songs demonstrate that the Street Dogs in 2013 are totally on top of their game.
I’ve long been a fan of the band since they started off with their brilliant debut “Savin Hill” album and although I felt that some of their subsequent
releases weren’t as strong, since 2008’s “State Of Grace” they have been going from strength to strength. Interestingly these were recorded together
with Mike’s former Dropkick Murphys partner in crime, guitarist Rick Barton, I wonder if that’s a new partnership to watch out for? If you like your
streetpunk loud, proud and drunk and with some refreshing touches of Irish, country and blues, it doesn’t get better than this. Tom Chapman
Symbol Six – S/T 12” EP (Dr. Strange Records)
Wow, now here’s a revelation courtesy of Dr. Strange. I’ve previously reviewed SS’s most recently released CD (confusingly also self-titled) and knew
they had a history but I wasn’t expecting this slice of tasty TSOL/Adolescents style, Robbie Fields produced, SoCal punk rock. Snotty vocals spitting
out the kind of lyrics that only a teenage kid full of boredom and disdain for their immediate surroundings can muster, catchy twin guitars which
demonstrate an above average musicianship (which apparently garnered the band some negative reactions at the time -‘Too Metal’ - oh please), but
also predates the more sleazy rock n roll tinged punk rock the band now play, plus a solid backline that included former Necros bass basher Donny
Brook. Side A features the original EP while Side B features a rehearsal session from 1980 and a few live tracks from ’81. Standout tracks opener
‘Ego’ and the surf leaning ‘The Hideout’. That this band has hidden in the shadows of their LA peers for so long is a travesty. Much respect to Doc
Strange for finally getting this out there; and as usual there’s a sterling job on the packaging which includes liner notes, photos and a lyric sheet.
Ian Pickens
Talco - Gran Gala LP/ CD (Destiny)
Here we have the fifth album from Italian protest-punks Talco. For many of you Talco may well be a new name, but they seem to be quite happy to
exist in their own bubble - alongside a legion of diehard fans - they can draw a thousand people on a week night in Germany! Music and attitudego
hand in hand here, and these guys putting their leftwing combat rock leanings to a complete party soundtrack. It’s hard to single out the overriding
factor, pop-punk, a big dose of ska, eastern European gypsy music and street singalongs are all present on here all chucked into the pot, shaken
up and served up in a colourful explosion of sound. The album benefits from a great production and top notch musicianship, with brash punk guitars
and a driving rhythm section as well as XXX. Vocalist XXX has a powerful set of lungs and can certainly carry a tune. Talco rarely slow down and the
result is a whirlwind ska punk fiesta - you no doubt know if you love it or hate it, but fans of the genre should waste no time in tracking down this gem
of an album - salve compagnos! (Tom Chapman)
The Corps - “Know The Code” LP/ CD (Pirates Press/ Contra)
Wow this is one of the tougher sounding mobs from the Aussie streetpunk brigade! This new 9 song 12” takes the various punk and hardcore
subculture styles, throws ‘em in the pit and waits for the carnage to begin. Yep, it’s loud, ugly and hard as nails. It’s uptempo for the most part, with
buzzing chainsaw guitars, a solid rhythm section and barked vocals that bring a more hardcore sound to proceedings, Slapshot in their prime springs
to mind. It’s not all as straight forward as that, and these lads know and pay respect to their musical heritage with a lot of solid lead guitar work that
is inspired by AC/DC and Rose Tattoo - especially the slide guitar - but also Motorhead plays a big role in the sound. Sometimes too much mixing up
of styles ends up sounding messy and disjointed, but fortunately that’s not the case with The Corps - they pay their respect to the rock’n’roll bastard
greats on this album in fine style. Throw in a few big terrace style singalong choruses and you have yourself a cracker or an album.
Tom Chapman
The Haverbrook Disaster- Weather The World CD (Let It Burn)
It’s rather funny how the age of a reviewer always seems to shine through when comparisons are being made. Younger writers can definitely link
‘Weather The World’ to Stick To Your Guns, while, I am showing my age by saying there’s really a hint of Snapcase on ‘Weather The World’. That is
Snapcase screaming vocals and hard-hitting riffs, but all is given a Comeback Kid sort of groove. A great, slightly punky, old school feeling with singa-longs. All in all one major step forward from their debut ‘Hopeward Bound’. The Haverbrook Disaster take their music very seriously, and their hard
work paid off with both killer songs and in-depth lyrics. The sky’s the limit for The Haverbrook Disaster. Martijn Welzen
The Peacocks – Don’t Ask CD (People Like You)
I’ve been rockin’ to (and reviewing records from) The Peacocks for many years now, and I would be remiss not to go out on a limb here and put
it on the permanent record that ‘Don’t Ask’ is the best thing the band has ever released. These Swiss rockers – Hasu Langhart (vocals/guitar),
Simon Langhard (upright bass), and Jürg Luder (drums) – have been around since 1990, making a bunch of noise in the rockabilly underground,
with previous releases sounding more like a punked-up blend of Gene Vincent and Johnny Cash than anything else. But this time… this time
The Peacocks have gone straight for my heart by writing a batch of songs that sound for all the world like the band – THE band – of bands: The
Replacements. Listen to ‘It’s All A Lot Of Bollocks’ (with its refrain, ‘what’s the point? I don’t know….’) or ‘All I’ve Got Is What You See’ and tell me
you don’t hear Paul Westerberg in the vocals and lyrics, the Stinson brothers on the strings (despite the upright bass, which I don’t believe Tommy
Stinson ever actually used on anything he’s recorded… but that’s beside the point, isn’t it?!), and Chris Mars on the beats. Sure, there are moments
of pure rockabilly mania – witness ‘Re-Hash Boogie’ or ‘The Long Way Home’ – but even then, the ‘Mats injected their share of vintage boogie-rock
rhythms and licks into dozens of classic tracks. The Peacocks have not changed their sound much, and they certainly haven’t become a ‘Mats tribute
band by any stretch – I’m not suggesting either thing – but they have stepped up their songwriting game and it seems to stem at least partially from
an appreciation of the original Minneapolis bad-boys. Whether that’s all in my head or a point of actual fact could only be confirmed by the lads in
The Peacocks, but truth be told, I’d rather not know. Sometimes ignorance is bliss, particularly when reality does not quite match up – or live up – to
perception. Regardless of what is real and what is fantasy, one simple fact shines through loud and clear: ‘Don’t Say’ is not just my favorite album
from The Peacocks, it is one of my favorite albums of 2012. The Impaler @impalerspeaks
The Rival Mob – Mob Justice CD Album (Revelation)
Tasty old school Boston hardcore with a crossover slant; kinda like ‘Dealing With It’ era DRI with some late 80s NYHC mixed in. TRM features ex
members of Mind Eraser, Righteous Jams, Mental and xfilesx so there’s a decent enough pedigree behind the band. Fast but not blastbeat/thrash
fast with some nice breakdown/mosh parts and pissed off sounding vocals; the only thing that bothers me is that some of the songs just seem to stop,
almost as if the band couldn’t be bothered to finish; that said I like this and if you’re a fan of bands such as the aforementioned DRI, Youth of Today or
Raw Deal you will too. Ian Pickens
The Shining – Rise Of The Degenerates LP (Picked Up / Just 4 Fun and more!)
Comparing bands to other, usually better known, bands can be a bit tricky. The Shining has been compared, by me, with (old) Municipal Waste on
several occasions. The Amsterdam pack of hungry wolves, obviously do not sound EXACTLY like their American counterparts. On ‘Rise Of The
Degenerates’, even less. The Shining seems to become more of a pure crossover band of the 80s, in the sense of a primitive Suicidal Tendencies
and a punky DRI, rather than a modern thrash metal band, a direction I was thinking they would take after their previous efforts. It is now safe to say
that The Shining have found a drinking hole of influences, which is pretty much fresh water. The liquid is still slightly contaminated with the bands
mentioned above, and also Nuclear Assault or The Accused. And judging by the BGK cover ‘Rules’, they also know their Dutch punk history. The
band’s love for these crazy classic bands makes this one amazing pleasure to listen to, as the joy in playing and the respect for the heroes of old go
hand in hand. The compact, crunching songs, with the uncontrollable urge to derail entire societies, gives energy and puts an evil smile on your face.
Madness still rules supreme, but more and more on The Shining’s own terms. Let your inner degenerate take control and mosh. Martijn Welzen
The The The Thunder – All At Once CD (www.thethethethunder.com)
The The The Thunder. How great is this this this band? So great that a triplified definite article is required both to name and to describe them. And that
is no no no joke. The The The Thunder is an independent, bi-coastal band – Seattle and New York City – comprised of six members (Dan, Julia, Nick,
Jill, Artie, and Glenn) with a massive and difficult-to-define sound containing shades of both classic (Gang Of Four, Magazine, Talking Heads) and
modern (TV On The Radio, Bloc Party) post-punk stacked atop a chassis built of the purest and most precious commodity ever crafted by humankind:
straight-up rock ‘n’ roll. The engaging male/female vocal interplay throughout the album calls to mind the best moments of The New Pornographers
– and fans of that Canadian super-group understand that ‘the best moments’ can most accurately be defined as meaning those happening both
‘constantly’ and ‘consistently’ – but it’s the music here that is likely to grab the most attention, with its massive and unending rhythms – those bass
lines! those drum patterns! – and its guitar-led-but-keyboard-fed mixture of haunting beauty and staccato aggression. I can’t describe The The The
Thunder any better than that. OK, I don’t want to try describing them any better than that; I want the the the world to run, not walk, to wherever the
world goes these days to purchase new music and get this album. And I can’t (won’t) attempt to pick favorites off of ‘All At Once’ because it, like all
great albums, is truly an album – not just a few songs everyone wants to hear packaged amongst a bunch of songs no one wants to hear, in the style
of the times, but a genuine, bona fide album, a magical journey that is as exciting at its ‘when is it going to get here?’ beginning as it is at its ‘no… it
can’t be over!’ conclusion, an adventure that leaves its listeners with no choice but to play play play it over and over and over again.
The Impaler @impalerspeaks
UK Subs - XXIV CD (Captain Oi!)
The UK Subs have named their albums sequentially following the letters of the alphabet - starting with “Another Kind of Blues”, now some 36 years
down the line we find them at the letter X -surely not long now until Guinness Book of Records time - although they’ve surely broken numerous
records in their long and illustrious career. I have to say I tend to approach a new record from “old” punk bands with caution. So many bands shoot
themselves and their reputation in the foot with a sub-par rock offering that is pedestrian at best. Not so the UK Subs. I haven’t always followed them,
but each time I’ve seen them live it’s been a pleasure to witness the energy of a tight punk rock unit and hearing all the classics. The great thing about
this is that the Subs have absolutely nothing to prove. They have the luxury of playing exactly what they want and the result is as vibrant and fresh
sounding as anything you’re likely to hear this year. Charlie has got a line-up these days that looks and sounds great, and the album they have come
up with is destined to be one of the punk highlights for 2013. Roll on albums Y and Z! Tom Chapman
Uncle Acid & The Deadbeats – Poisoned Apples 7” Single (Rise Above)
I have to say I’m inherently sceptical when I see the term ‘Post Hardcore’; it seems to be a label for label’s sake, but I’ve been wrong before so I was
prepared to give this Irish five piece a fair hearing. To be honest, I’m just not getting it. It ticks all the right boxes for this type of hardcore; impassioned
vocals with emo lyrics, unnecessarily complex song structures with strident off chords, a variety of time signatures… but I’m left cold. That said fans of
Bridge Nine Records signings would probably dig this. Ian Pickens
Valve Rider – Bring It On Heavy CD (Active Media/Universal Operations Ltd)
When I got this CD, I had no idea what I was getting into other than the fact that the band has a cool name that sounds like they might be comparable
to The Almighty or possibly to Clutch and that the album cover features an image of a customized guitar amp – meaning they might be comparable
to The Almighty or possibly to Clutch. I opened up the booklet and my eyes immediately settled on a bold-faced portion of the liner notes: ‘Dedicated
to Ronnie James Dio, Long Live Rock ‘N’ Roll’. Hell. Yes. Valve Rider. When the first strains of opening track ‘Judge’ kicked in, I knew I was in for
one hell of an enjoyable ride. By the time I got to track 4, ‘Cross The Line’, I was thoroughly hooked – and it took me damn near an hour to get past
that point of the album because I kept backing it up to hear ‘Cross The Line’ again and again. What does Valve Rider sound like, then? Well, turns
out I wasn’t off base with my thoughts of either The Almighty or Clutch, and I could throw around names that make my knees weak every time, in
the form of bands like Circus Of Power and Motorhead, as well as rockin’ bastards such as Chrome Division and Crucified Barbara. Valve Rider, you
see, understand the power of the riff. And they use it well. Additionally, they understand the power of the groove. And that, too, is utilized to great
effect throughout ‘Bring It On Heavy’, which is, in fact, heavy – and I mean heavy. This isn’t metal. Don’t feel misled. This is rock ‘n’ roll. Heavy rock
‘n’ roll. Sounds like the guitars are tuned to… maybe C? B? A?! I don’t know how guitarist Nathan Moore captured those tones, exactly, but damn if
he didn’t figure something out. Add to that a groove-heavy swagger courtesy of bassist Sean Gallagher and drummer Lee Gallagher that wouldn’t be
out of place on any good stoner rock record – though I’d hesitate to flat-out insert Valve Rider into the stoner rock category – and a damned appealing
whiskey-soaked vocal performance by frontman Adam Ward and you’ve got… well, you’ve got Valve Rider, who’ve proven here that they’re in a class
of their own. The Impaler @impalerspeaks
Voodoo Circle – More Than One Way Home CD (AFM)
An amazing instantaneous hit of hard rock/metal with great sounding guitars and dominant vocals cutting through the speakers with shear power
– LOVE IT! German band Voodoo Circle don’t sound like you may typically expect, instead their love of classic rock (from the UK especially) helps
contribute to their sound creating songs of a contemporary Whitesnake calibre. Alex Beyrodt the sole guitarist in VC executes some stunning guitar
parts and during ‘Tears In The Rain’ he certainly turns up the heat. English front man David Readman delivers some of the finest vocal moments I
have heard in a singer and one can’t dispute the fact that Voodoo Circle are undoubtedly giving Sir David of Coverdale and his crew a real run for the
money. Twelve songs complete ‘More Than One Way Home’ with the digi-pak offering fourteen songs and a video. Never has classic rock sounded so
good, so emotionally powerful, and so positive; the music summer festivals were made for… a real feel good factor. Mark Freebase
Vreid – Welcome Farewell CD (Indie Recordings)
Dark and heavy, and two years in the making, now we have the Norwegian 4 piece’s 6th release and the follow up to the Grammy nominated ‘V’
album. The immediate (early) Kreator and Sodom comparisons rear their heads from the opening track, but it’s quite clear from the beginning Vreid
are back steam-rolling us with their own brand of ‘black n roll’ metal. The classic black metal vocal sharpness and mid song guitar shredding are
keeping a steady pace for the tempo, with a production and mix quality far superior to so much music in this genre (possibly due to the fact that
bassist Hvall handles all the production and mixing duties himself, showing proof that if you have the capabilities getting the job done yourself pays
way more dividends). The eight tracks on ‘Welcome Farewell’ combine what could be described best as a volatile mix of 70s rock and 80s classic
metal, compounded with traditional Norwegian black metal overtures. The groove ridden, yet immensely heavy ‘The Devil’s Hand’, ‘The Reap’ and ‘At
The Brook’ hammer home this fact whilst giving a twisted depth to Vreid’s darkness. Mark Freebase
Wounds – Die Young CD (In At The Deep End)
One shouldn’t actually be allowed labelling or rating a band when all they really do is putting to music what they have experienced. Can you
really rate a diary? Irish Wounds is a band, and they litterally have the scares to prove it, who are the music they play. Their debut full-length is
the personification of what they felt and experienced in the past couple of years. Their distorted brand of rock lets me believe this has been a lot.
Almost too much for any man to bear, but it’s the rock n roll keeping them alive, as they are intravenously fed with the likes of Gallows, The Bronx
and Every Time I Die. It’s also sleazy at times, reminiscent of The Hives, which makes you think they are not after your soul, but this is only to cloak
their true intentions. Which is to make you dance and to make you forget the horrible things that might have scarred your life. The instruments of the
apocalypse might not be as blunt as with labelmates History Of The Hawk, but the number of possessed souls is just as high. Amazing rock from the
underbelly of the 21st century. Martijn Welzen
Year Of The Dragon – Five Fingers Of Def CD (Stylus Recs)
‘Quit bitchin’ and start a revolution….’ – what a way to open a record! Year Of The Dragon, for those who are, sadly, unaware, is a heavier-thanyou-might-expect band from Los Angeles featuring vocalists Roderick ‘Rodcore’ Palmer and Dirty Walt, guitarist Marc Rey, bassist Latif ‘T-Bone’
Van Lowe, and drummer Jason Gaddis (though Norwood from Fishbone plays bass, Kerim Imes plays drums, and The Dubber plays guitar on this
release) that has been shaking up the left-of-the-dial rock scene since 2006, when Dirty Walt ended his 25-year tenure in Fishbone to join forces
with Rodcore – and, at the time, former Sound Barrier and Fishbone guitarist Spacey T, who is currently blowing minds in the band Praise The Dead.
‘Five Fingers Of Def’ is the band’s third release – 2006’s ‘A Time To Love Is A Time To Bleed’ and 2009’s ‘Blunt Force Karma’ are its precursors – and
it is nothing less than an endless series of swift kicks to the bloated backside of modern alternative rock. Produced by Circle Jerks/Redd Kross/Bad
Religion guitarist Greg Hetson, and released on Hetson’s own Stylus Recs label, ‘Five Fingers Of Def’ is a 5-song EP that deftly mixes influences as
diverse as Bad Brains, Suicidal Tendencies, Slayer, Ice Cube, Black Flag, and all of Hetsons previously mentioned bands – among a myriad of other
elements – into a brilliant new sound that is both brutal and catchy as hell, full of vintage LA-punk riffing, thrash-metal soloing, and a fresh vocal attack
that is comparable in equal measures to old-school California hardcore, old-school California hip-hop, and the old-school Black Rock Coalition (i.e.,
Parliament/Funkadelic, The Isley Brothers, and other bands that rocked as hard as any of their contemporaries, and no mistake). Does any of this
make sense? If it doesn’t, that’s probably a good thing, because the inability to pigeonhole a band is one of the key things that identifies that band as
a a bold new force in the world of music… which is the best way to try and describe Year Of The Dragon. To wit, imagine if Ice Cube’s revolutionary
‘It Was A Good Day’ had been set to a musical backdrop straight off the equally revolutionary debut from Suicidal Tendencies, with a chorus that is
melodically reminiscent of the heaviest rock ‘n’ roll song of 1977 by far, The Isley Brothers’ ‘Climbing Up The Ladder’. That’s pretty much what ‘Simple
Man’ sounds like. ‘Just Don’t Know’, meanwhile melds the guitar sound that built Bad Religion with the swirling melodies and unchecked aggression
of Bad Brains, while ‘I Am Your Darkness’, ‘Open Up Your Eyes’, and the aforementioned ‘Quit Bitchin’’ each blends classic funk, modern metal, and
– once again – hints of early Bad Brains and Suicidal Tendencies into a series of insatiable, incendiary thrill-rides that should carry warning labels for
novice listeners unaware of the broad, boisterous history of underground music. The same old thing is happening over and over again in garages,
recording studios, and stages all around the world… but something entirely different is happening in Year Of The Dragon’s house.
The Impaler @impalerspeaks
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Until next time Folks...