Filed under: Interviews
Words by Simon Hadley.
Photos: Gretchen Garretsen.
It’s difficult to think of another hard rock trio with strong ties to the Red Planet. The Deserts of Mars’ self-proclaimed brand of ‘Mars metal’ has been thrilling Texan audiences since their live inception, while the release of Transmission, the band’s debut full-length album, has received positive feedback from the underground rock community.
Here, Tony Salvaggio (bass and vocals) reacts to their rising online reputation, as well as revealing the secrets behind the ‘Mars metal’ sound.
What is the definition of ‘Mars metal’?
When we first coined it, we were trying to find a way to describe a growly, aggressive, riff-based sound that isn’t pure metal or stoner; and is equal in being both aggressive and melodic.
We sing about space (and all of the things that make cool metal songs) so ‘Mars Metal’ became the way we [the band] describe what we are doing. It just seemed to stick for us. Of course, you can’t tell people that right out, as you need a way to describe your sound that is relevant to what is out there. So it’s either desert or stoner, or we stick with Lemmy’s famous quote: “We play Rock n Roll!”
As debut albums go, Transmission has the polished maturity of a band who knows their way around a studio. Did any of you have any previous experience behind a mixing desk, before Deserts of Mars?
Thanks! Well, I’ve done lots of demos for bands that split up and Bob [Hoff] went to school for recording. Billy [Garretsen] has been doing home recording stuff for quite a while as well, so we were familiar with the studio. However, the big thing [for us] was that we didn’t want a demo, as we wanted a solid recording that we could be proud of.
From there, we were lucky to enlist Mark Dufour, who I knew from when he engineered a demo my wife and I did for a darkwave/goth band we formed a long time ago. I tracked him [Mark] down because I knew he was good – and he rocked on both the engineering/recording and production side. He [Mark] is a rockin’ sound guy (he is also the engineer for the band Ghostland Observatory who is pretty popular) and we actually had to share his time with them during the recording.
He [Mark] worked hard to go beyond even what we initially set out to do. That’s why he also gets the ‘navigation and propulsion’ credit in the album. We set goals and executed on them, and I think it shows in the finished album.
Before the release of Transmission, you were making a name for yourself as a powerful-sounding live band in Texas. What kind of feedback have you been getting from local audiences?
Overall the reaction has been really great. At each show we’ve got a few more people banging their heads and buying CDs, or telling their friends about the band. That is really cool. We have also been fortunate, that we’ve gotten a lot of people who appreciate the variety and melody of our set – so we get some crossover fans who may not be into the heavier doom or stoner acts (even if I wish they were).
The funniest reaction we get is from people who have heard tons of our demos, or know lots of people in bands (Austin is kind of oversaturated sometimes) and they say things like: “Wow! This sounds like a real album!”
At first I wanted to go: “Um, it is, what did you expect?” but in reality, what they mean is: ‘It doesn’t sound like a demo, and I would listen to this in my car a LOT.’ So far, the buzz has been really positive, and I’m hoping we can keep that momentum!
Are there any tracks from the album that you enjoy playing live more than others?
I always love playing ‘Cities on Fire’. It is so immediate and to the point. I love ‘Mad Max’, ‘Fist of the North Star’ and all things apocalyptic – so that one is fun every time. I think Bob [Hoff] digs ‘Dreamcrushers Inc.’ and Billy [Garretsen] changes his mind from time to time. I still enjoy playing all the tunes (even ‘Send More Gasoline’) which was the first song we wrote in late 2006. I love playing with Billy [Garretsen] and Bob [Hoff], so (as long as that’s happening), I’m happy!
Although you have done a stellar job in promoting Transmission yourselves, have you had any contact from any record labels, either at home or abroad, looking to sign you to a permanent deal?
So far, no label interest like that has come about. We’re still very much ‘DIY’, which is really cool, because we control our destiny. It does get hard doing all the promotion and maintaining things all over the net (as well as booking ourselves), but that is part of the course.
I think we’d be very careful about labels at this point, but I don’t know if I would rule it out. The cool thing is that with: CD Baby, Amazon, iTunes and cool sites like yours, you can reach international fans without a label. I’ve had people write to us from Germany, just because we were on the sidebar on some stoner rock sites, and the stats on Last Fm show lots of international interest. That’s rad. Of course, the challenge is always, ‘how do you reach all your potential fans?’ and ‘how do you balance all the band stuff with having a full time job?’ We’re working hard to do it all right now.
What kind of relationships do you have with fellow Texan hard-rock bands, and are there any of these bands that you would recommend to our readers?
We always try to be cool to everyone in the scene and pay it forward no matter what. The bands we have been playing with lately are Valley of Fire and Corporate Elvis. They are super cool guys, and we love playing with them. Also for Chybucca readers, I would check out: Fur King, The Roller, Burning Avalanche and Honky. I just saw Fur Kings with Honky and Karma to Burn, and it was a fantastic show!
Also, in the Austin scene (but not in the stoner-metal arena) I’ve been digging One Eyed Doll and Descendants of Erdrick (we all work in the games industry so a rockin’ video game tribute band is super cool), as well as, Matches for Memories and Waiting for August (some cool alternative bands). I like a lot of different stuff, so it’s hard to pin down just a few bands.
From what I understand, you have already started writing and recording new music for a follow-up album. What can you tell us about the new tracks?
We’ve got one that we’ve been testing out called ‘Pieces of Mind’ that is in the ‘This Time’ kind of groove. The idea with the next batch of songs is to break the mould a bit, and try to keep moving towards where we were heading with ‘Strike’ (the last song we wrote before we went in to record).
We’re playing with the title Dark Matter for our second release – so that is kind of coming across in the new tracks. As the name implies, we’re working on darker, deeper and more aggressive stuff. The “Empire Strikes Back” of albums if we have our way. As usual, the bass riff tends to start it. Bob [Hoff] adds that awesome melodic element, and it all works with the drums. Billy [Garretsen] has added some more almost hip-hop or disco beats that you wouldn’t think would work with heavy rock, but it congeals back to our ‘Mars Metal’ framework. The idea is that we have our sound, and now it’s time to refine it and solidify it stylistically.
Over the last couple of years, there has been an explosion of bands that are incorporating the fuzzy, riff-heavy rock of ‘90s stoner into their sound. What do you put this sudden interest in the genre down to?
I’m not sure what’s going on, but it is terrible for my wallet! I think it’s partially a reaction to all the doom and gloom in the world, but there’s also lots of heavy rockin’ for entertainment.
You want to go to a show, headbang, and leave your cares at the door. I dig that it kind of spread from southern rock, to the Californian desert, and then to Sweden, and across Europe (I’m super psyched that Orange Goblin is playing here in Austin soon!). It’s cool that I can make a Deserts of Mars channel on Last.fm, and all of these [those] cool bands play on there.
My day is full of heaviness from all over the world, and whatever the reason that this heaviness is grinding its way across the Earth; I’m hoping we can be a part of it for a long time. Oh yeah, on a side note, doing these interviews, has also turned me on to cool people from where my great grandparents came from in Sicily. Chybucca fans should definitely check out Gustnado – this guy has made some super rockin’ stoner stuff.
Finally, have you got any festival appearances lined-up for this summer, and if not, where’s the best place for enthusiastic promoters to contact you?
We’re still booking shows around Austin, and we are also playing a cool video game-related Austin Game Developer Picnic. It’s this awesome annual picnic event for local video game pros at Richard Garriott’s (of Ultima fame) lakeside property, hosted by the local IGDA [International Game Developers Association].
As gamers and rockers, this is a cool thing for us. Good bands and good people rocking out and having a good time! We haven’t booked any festivals, but we would love to do just that. On my bucket list to play with are: Capricorns, Orange Goblin, Boris (in Japan), Flower Travellin’ Band, Mustasch, Witchcraft, and [or] Monster Magnet.
It may take a while to do that, but in the meantime, we always want to hear from people at dsertsofmars@gmail.com through our Facebook page and Reverbnation page (and of course our website ). We’re ready to spread ‘Mars Metal’ across the universe!
Filed under: Interviews
Words by Simon Hadley.
Photos: Sea of Zyn.
How would describe In The Key Of Sinners?
When we realized we had an album in the works we made a conscious decision to let the songs drive the creativity. We didn’t set out with a specific style or sound in mind. From the album imagery to the musical and lyrical composition to the way we positioned the tracks, we wanted listeners to challenge traditional views and beliefs. Above all we hope it inspires listeners to think for themselves. It’s a labour of love which developed into a conceptual rock album.
How long after your formation in 2008, did you decide upon the In The Key Of Sinners concept?
We had been doing some local indie films, scoring together at first. That’s when we first realized we worked well together as a writing team. While experimenting with some new recording equipment, we cut a few rock tunes.
Our process always starts as a conversation before we even pick up an instrument or put pen to paper. The more philosophical and conceptual conversations we had, the more tunes we started. Within a year of adopting the SOZ moniker, the album was in the works.
You also cite your love of Detroit as an additional influence. What do you love must about the city?
We’re actually excited about the future of Detroit. It’s a big small town. In its rebirth, Detroit is attracting artists who are bringing with them a fresh and collaborative spirit. Head to the local pub and you’re bound to be sitting next to: a musician, painter, sculptor, graphic designer, etc.
Many have come to the city from places like: New York, Boston, Chicago, Munich, and London where they’ve been priced out of living. We’re able to find large, affordable artist spaces in a collaborative community that welcomes us and gives us an opportunity to flourish.
Sure, there is the blight and decay so loved as a backdrop for news media, but there is also great, inspiring beauty here, on top of a rock and roll history unparalleled in the US.
The striking imagery of the albums cover gives an added dimension to the record. Who designed the artwork?
The original piece used to create the layout was done by William Barry Roberts. We were invited to a show where a few of his pieces were featured. We knew right away we needed to ask if he would be interested in our project.
William is a serious and critically acclaimed artist. We’re honoured that he agreed to be involved. After hearing the working demos he composed Vore III based on inspiration from the music. As we mentioned before, everything was done with a purpose. We’re really happy you mentioned the artwork, as it’s an integral part of the whole work. Check out William’s work here: http://williambarryroberts.com.
There are a lot of guest spots from local musicians on the album. How did you persuade so many musicians to contribute to your vision?
The album was fairly complete when we started to ask for guest players. We were able to explain the whole concept when we pitched it to them, which helped intrigue and inspire them to want to be a part of the project.
Eric Fischer (http://www.ericfischer.info/), John Piasentin, Art Peitsch, and Jeffrey (from SOZ) also play live locally as Radar Pilot. Glenn Bengry is an old friend, and he’s a talented horn player. We’re also friends and fans of Danny Methric (The Muggs) and Eddie Baranek (The Sights), two of Detroit’s local rock heroes.
We were really fortunate that they all came in, stepped out of their respective comfort zones, and pulled off outstanding performances.
Art did the backing vocals on ‘Idolatry’, John played the solos on ‘Light’, Danny played the solos on ‘Fearless’ and ‘Idolatry’, Eddie played the solos on ‘Deliverance’, Eric played drums on ‘Atrophy’, ‘Panacea’, and ‘Light’ and of course Glenn played the horns on ‘Poppies’ and ‘Deliverance’. Again, it’s a big small town.
Staying on the subject of local musicians, what can you tell us about Detroit’s rock and metal scene? Are there any bands that you could recommend to our readers?
There are many diverse bands in the city, and a good number of them are quite talented. We bounce around to see many acts, regardless of genre.
In the last two or three years we’ve seen some really good cross-genre shows put together; bands who you wouldn’t expect to see together, but all of them really talented.
One great thing about Detroit is that even when you go and check out a good local pop band there’s always at least a little grit and grime in them, and some of the grittiest bands will throw in slick Motown grooves. It’s a pretty sweet stylistic melting pot, and sometimes the fondue produced tastes phenomenal.
Some of our local favourites are: The Sights, The Muggs, Child Bite, Zoos of Berlin, Blanche, The Electric Six, Troy Gregory, Dennis Coffey, any of Timmy Lampinen’s (aka Timmy Vulgar) various punk adventures, and The Hard Lessons. Check them out if you haven’t already.
Finally, are there any plans to use your local connections and take Sea of Zyn on tour?
Given enough interest and the right venues, we might put some live shows together, possibly kicked off with a limited edition vinyl release.
http://www.myspace.com/seaofzyn
Filed under: Interviews
Words by Simon Hadley
Photos: Blue Aside.
Endorsed by Black Pyramid’s Andy Beresky, Blue Aside’s debut EP The Orange Tree is a heavy, daring and progressive blend of doom and hazy psychedelia.
Guitarist and vocalist, Adam Abrams discusses the Boston trio’s love of sci-fi storytelling and mystifying metal.
You describe The Orange Tree as a concept album. For those of us who are unfamiliar with its back-story, what is The Orange Tree about and where did the concept come from?
When we were writing for this project we found it easier to write songs based on a science fiction theme instead of random subjects.
Love songs, hate songs, political songs and whatever else do not invoke the interstellar atmosphere that we were trying to create. Crafting an alternate world helped me to visualize the music such as a science fiction novelist does when writing a book.
I want the listener to create their own images as to what the music makes them imagine, while steering them in a direction with a basic theme. It would be nice to collaborate with a writer and develop this story into a novel.
When did you get approached by Hydro-Phonic Records, and what are they like to work with?
I emailed them the final mixes of The Orange Tree in the summer and they liked it and wanted to release it on CD and vinyl. Travis from Hydro-Phonic Records already had a vision of what the cover should look like by the time we first spoke. He is very hands on when it comes to the design and quality of the artwork. He wants to make each of his releases extraordinary; returning us to the days when opening a freshly purchased vinyl for the first time was something you looked forward to. Encouraging music fans to buy the record, rather than just downloading the free low-quality MP3’s.
Who are you your favourite bands on the Hydro-Phonic Records roster?
We are really into the Mountain Goat’s Smoke Filled Land EP and plan on doing some shows with them during our tour in July. Our other favourite bands on the roster are: Black Pyramid, Ramesses, Fistula, Stone Axe, Sun Gods In Exile, Eternal Elysium, Sardonis and Let The Night Roar.
You are in the process of recording your second album The Moles of a Dying Race. Is it a continuation of The Orange Tree, or is it a different concept altogether?
It’s a continuation of The Orange Tree. The Moles of a Dying Race takes place after the planet suffers from a shift in their sun’s orbit and the majority of the land is inhabitable. Beside The Orange Tree is a gateway where the rulers have learned to travel to and from other planets, through portholes between space and time.
They’ve cloned themselves as giant robots which are not affected by the intense heat and appear as monstrous beings from the view of the periscopes peering from the moles’ underground lairs. ‘The Traveller of Time and Space’ brings the portholes to their attention and the moles plan a revolt. The record concludes as they prepare for war, leading the way to the third part of the story.
Outside of the studio, you have been enhancing your reputation as a ‘must see’ live band. How do you transfer your studio recordings into the live arena so well?
We play the songs that will sound best live as a three-piece. Joe [Twomey] fills in a lot of space by saturating his bass with fuzz. Sometimes I will play the chords and leads simultaneously. All along we are both following [Matt] Netto, as he’s the driving force behind the live show.
You are friends with Black Pyramid‘s Andy Beresky, who has helped to promote you to a wider audience. Could you see yourselves touring alongside Black Pyramid in the future?
Yeah I could see us touring together sometime in the future. Black Pyramid is an awesome band, so that would be a great tour for us.
Staying on the subject of touring, are there any plans to support the release of your new album by playing a smattering of dates in Europe?
We plan on touring the states first, but we definitely want to hit Europe and the UK sometime in the near future.
Finally, before forming Blue Aside you played in a number of local bands including: Palace In Thunderland and Aeolian Race. Are there any plans to re-release The Apostles of Silence on an independent label, now that your fan base [as well as Black Pyramid’s] is on the increase?
The members of Palace [In Thunderland] have talked about releasing the Apostles of Silence. The album never saw a proper release after it was recorded. It’s a great record that’s all ready to go. With some cool artwork it will definitely make for a killer release.
http://www.myspace.com/blueaside
Filed under: Interviews
Words by Simon Hadley.
Photos: Peter McMahon.
Kyuss may be credited with bringing the Palm Desert Scene into the wider world, but without Mario Lalli and Gary Arce, the ‘desert rock’ genre would not exist.
Yawning Man’s generator-driven parties are legendary – and rightly so – as their reverb-soaked grooves and extended jams, lay hidden beneath the sun-scorched sands of their highly-influential surroundings.
Forming after the release of 2010’s Nomadic Pursuits, Big Scenic Nowhere is a continuation of Yawning Man’s ethos, albeit under a different guise.
Big Scenic Nowhere seems to have quite literally come out of ‘nowhere’. Where did the idea for this new project come from?
Mario: This project is just like any music that Gary and I create together, I think we just like thinking up cool names for bands. Really it came out of jams and recordings with Tony Tornay (who plays drums in Fatso Jetson).
Me and Gary just like to play and write. We also enjoy making music with different people. It just kind of happened naturally; we didn’t set out to realize a certain project.
As two of the founding members of the legendary Yawning Man, do you feel any pressure with fans comparing your new project with your previous work?
Mario: It all comes from the same place, music is music. We never think about how people will respond. We just play.
Gary: No not at all. The same core chemistry that made Yawning Man’s music so dark and scenic is still intact, It’s just under a different name. I know fans of Yawning Man will gravitate towards this.
From listening to your early demos, there is a mesmerizing laid-back charm to your playing. Do you have a preference for how you work? Do you go into the studio and just jam or do you take some time to write?
Mario: We have done both of these things quite a bit, there is always a little of both going on. When I am playing bass and Gary is on guitar we feel this freedom to explore, float and dive.
Even when songs are reduced to key elements through practice and writing, there is always some spontaneous energy that takes it in a different direction live and in the studio.
From playing in all these different projects together over the years, is it almost like being a part of an extended family whenever you guys get on stage together?
Mario: Absolutely. Me, Gary, Alfredo, Larry Lalli, Tony Tornay and Scott Reeder grew up musically together, and it’s something that never leaves you.
Playing ‘Catamaran’ with John Garcia at the Rock For Isaiah benefit concert must have been surreal. What are you thoughts on the Kyuss Lives! project?
Gary: I think its great, as it puts things back into perspective musically in Europe. There are so many Kyuss sounding bands over there and you forget where it all came from. It’s long over due.
Mario: That was fun. I think they will have a great time playing together again and people will appreciate the chance to see at least part of the chemistry of those friends playing. Josh is a huge part of the sound and vibe of Kyuss, Alfredo and Scott also, but it keeps growing and changing so who knows? Maybe they are writing some new songs?
You both recently got back from a European tour with Yawning Man & Fatso Jetson. How were the shows?
Gary: Really positive feedback at the shows. I was bummed Mario couldn’t make it. Nomadic Pursuits is by far the best sounding recording we have ever done, but the response every time we go back gets better and better.
Mario: I toured with Fatso ending with a performance at Roadburn, we had the most amazing trip. The great band Oaks Mary from Italy was on the road with us. We jammed and improvised together and we shared some great food and many laughs. It was perfect as so many people were enjoying the live shows, just great.
Yawning Man had to scramble to find a sub for me as I had health problems before the Yawning tour and could not go. It broke my heart to not be on that trip with two of my best friends in the world. They met a great young player and he did a fine job holding down the groove.
Like in all corners of the world, the “desert rock” scene has had a profound impact on the UK and has a lot of dedicated followers this side of the pond. Are there any plans to tour the UK in the near future?
Gary: I would love to go over with Big Scenic Nowhere; it’s just a matter of planning it into our schedule and getting the right booker over there.
Mario: We are planning a trip to Morocco to film a music documentary of us travelling through the country and playing outdoors in scenic locations. This will be in August and after that trip we will try to make more plans for the UK and Europe.
Gary, your signature guitar tone can be picked out straight away on any record that you’ve ever played on. How have you developed your sound over the years?
Gary: I have probably had every guitar pedal ever made in and out of my hands at one time or another, and have mixed and matched different reverbs with overdrives and distortion pedals to find the 2-3 pedals that I really like.
I have them set at the same settings along with my semi-hollow stratocasters that at high volumes add feedback harmonics to my sound. I have a friend in the desert who worked with me on my gear over the years.
I would explain to him the sounds that I was looking for, and he would drop off hand built guitars, varying from solid bodies with humbuckers to semi-hollow with humbuckers and everything else in between. I have about five guitars now, all with different body mass.
From what we understand Mario, you have been jamming with your sons band Auto Modown. What can you tell us about the project and what kind of reaction has the project been getting locally?
Mario: Playing with my kids is a dream come true. My son Dino is only 14 and the drummer Benny Macias is 16, but we have so much in common musically. I am trying to teach him the vibe of jamming and improvising right now and as we get that communication going, I think the music will really start to grow.
We have had a great response to the band. People are thinking: “oh how cute he plays with his little boy in their little garage band” and then we unleash fudgy nail bombs of rock power on their ear holes! They soon realize it’s not so cute. The young lads truly rock. I’m just loving it so much.
There have been so many great bands to have come out of the desert scene. From an outsider’s point of view, there seems to be a special pool of talent in such a small area. What makes the desert so artistically unique?
Gary: We were cut off from the rest of the world for a long time, as the desert is two hours away from Los Angeles and the only thing between us was desert. We kind of developed our own world unaffected by trends and the flavour of the month. It was a close knit group of friends that loved music and the sky was the limit as far as creativity.
Mario: I’m not sure, but one theory I have is that like other small towns the desert didn’t have so much going on to influence young musicians so everyone kind of had to do their own thing, remotely influenced by the outside world of: punk, rock ‘n’ roll scenes and other creative music scenes, but still “cut off” enough to brew in its own juices.
Mario, you were once part of a project called Across The River, which included Scott Reeder, and Alfredo Hernandez. Are there any secret gems from this project locked away that could ever see the light of day?
Mario: We recorded a live performance in 1985 at a generator party in Malibu, CA. It was originally to be released by SST records but nothing ever came of it. Maybe we will remix it some day and put it out on Vinyl! That would be rad.
Finally, what is the secret to a long lasting musical relationship?
Gary: Yawning Man has always been based on childhood friendships. When we play its more like hanging out with friends rather than looking at it like a business or a job. Music should be a celebration of friends and expression.
Mario: I could make some witty joke here and many come to mind, but there are enough sarcastic answers to rock ‘n’ roll interviews to fill the bible twice. So I say, play for fun and friendship, and never take for granted all the great times you have spent making music and sharing radness with your bros.
http://www.myspace.com/bigscenicnowhere
Filed under: Interviews
Words by Simon Hadley.
Photos: Mississippi Bones.
The Hardin County duo has taken the underground rock scene by storm in the last year, as Mississippi Bones’ self-titled release, fires out: huge riffs, memorable choruses and powerful verses, all of which are locked in traditional Southern rock grooves.
Dusty Donley (guitars, bass and programming) reflects on their whirlwind 12 months.
Coming from the flat lands of Hardin County, how did you guys end up naming yourselves ‘Mississippi Bones’?
A few years back I was reading an article about an outlaw organization of hobos who were riding the rails of America, killing people and generally raising hell. One of the hobos in the article called himself “Mississippi Bones” and at the time he was serving a jail sentence for murder.
As I read the article, I thought “Mississippi Bones” was a great name for a band and when the opportunity arose, the name fitted the style of music I was writing.
According to your bio, you both grew up in Ada, Ohio. For those of us unfamiliar with the state of Ohio, what was it like to grow up in Ada?
We both grew up in Hardin County, but I grew up in Ada, while Jared grew up in Dunkirk, which is a corn field or two down the road. Ohio has a few really nice cities, but Hardin County is smack dab in the middle of rural Northwest Ohio. It’s a great place to grow up, but admittedly, there isn’t much to do, which is one of the reasons Jared and I both took up music.
When did you and Jared decide to turn Mississippi Bones into a full time venture?
Jared and I have known each other for close to 15 years. Doing something like this was always something we wanted to do, but we didn’t actually make it happen until the summer of 2009.
There are a lot of direct and also indirect metaphors used in your lyrics, as well as references to popular culture. When did you discover that you had a flare for song writing?
Jared is an avid reader, as well as a big fan of comic books and movies. The first song he wrote lyrics for was ‘The Venkman’ and I knew right away that we were on to something. I think he improves vocally and lyrically with every song he writes, so I’m really excited for people to hear the new tracks we’ve got written for the second album.
As well as southern rock there is also an element of grunge in your sound. Who are you biggest influences and were there any band’s that you were looking to emulate during the recording process?
I can’t say there was a specific band we tried to emulate when we recorded the record. If you listen, I think you can hear bits and pieces from bands that have influenced my writing and playing style, but I don’t think there is one specific band we’ve tried to pattern ourselves after.
As far as influences, I’d say bands like: Clutch, Crowbar, White Zombie and Guns N’ Roses are big. Throw in a little 90s grunge (Alice In Chains, Soundgarden) and some 70s rock (Skynyrd, Sabbath) and you’ve basically got the Bones sound.
What sort of reaction have you guys been getting from those who have listened to the record?
We’ve gotten an overwhelmingly positive reaction to the record. Not only do people seem to dig the songs, but they’ve also been really impressed with the quality of the recording.
We recorded the album with our buddy Josh Palmer at Zombietakeover Media and he does a hell of a job. We plan to record our second record with him and highly recommend his talents for anyone looking to record an album.
How useful has the Bandcamp website been in getting your sound over to a wider audience?
Bandcamp has been pretty effective. Myspace was also useful before they changed the site and made it unusable. We’ve also got a Facebook page and a website currently under construction. The Bandcamp site is nice because it’s easy to navigate and it allows us to stream our entire record.
Although, I’ve found that the biggest key to the online realm is not to rely just on one site, but to get your name and music in as many places as you can. If you do a Google search for Mississippi Bones, you’ll find dozens of links, which is due to my persistence in getting our music “out there.”
What is the best album that you have heard this year (apart from your own!)?
I’d say my top three albums of 2010 were: The Sword’s Warp Riders, Kylesa’s Spiral Shadows, and The Black Keys’ Brothers.
Are there any plans to take Mississippi Bones on the road?
Not exactly on the road, but we’ve hooked up with some friends who play and we plan to play a show or two in 2011. We’ll post all the information on our Facebook page once things are set in stone.
Lastly, is there a second album in the pipeline?
As a matter of fact, there is. We’ve spent the last few months writing and have had a really good start to the second record. If everything goes according to plan, we should have the album out sometime in 2011. Again, we’ll post all the information and updates on our Facebook page, so keep checking to stay in the know.
http://mississippibones.bandcamp.com/
Filed under: Interviews
Words by Simon Hadley.
Photos: Dinosaur Eyelids.
Going with the tagline “alternative rock for a new generation” could be classed as brave, but also as a sign of intent.
The New Jersey four-piece are putting the finishing touches to their second album, entitled Down A River, a release that (if it lives up to its billing) could be a genre-defining album in 2011.
Your motto is “alternative rock for a new generation.” Do you feel any pressure in living up to this billing with the release of Down A River on the horizon?
We don’t feel any pressure because there is literally no one representing this kind of music in the mainstream world. We grew up on heavy music and want to bring it back.
Is there is a difference in style between Winter Solstice and Down A River?
We spent a lot more time on this album. Our first album is a cheeseburger and fries, this one is an Old Country Buffet.
Your live performances have earned you positive feedback for local media and fans. Are there any venues that you enjoyed playing more than others?
Our home venue is The Court Tavern in New Brunswick, NJ where we play about once a month. We also really love North Star Bar in Philly and Bar East in NYC.
What kind of feedback have you been getting from fans in New Jersey?
We often get compared to Soundgarden which is the highest possible compliment we could ever hope for.
What are you favourite tracks to play live off your first record?
The two songs that we’ve played consistently are ‘Carcinogen’ and ‘Generation Genocide’, which has really evolved over time. ’Waves’ was our closer for a long time, but we haven’t played it as much recently.
Since June 2009 you have played well over 40 shows. Are there any cool stories you’d like to share with us about life on the road?
We manage to get lost on the way to and from almost every show. It’s amazing that we’ve somehow always managed to get there on time. The legendary exploits of The Lids echo like thunder down the corridors of history. There are many involving drugs, farm animals, waffles and underage-hookers, but unfortunately those lawsuits are still pending.
Are there any dates in place for the New Year to help promote the new record?
We have a show on Saturday, January 8 at Desmond’s in NYC and our album release show at The Court Tavern in New Brunswick, NJ on Friday, January 28.
What are you thoughts on the current alternative rock scene and how do you think you can make an impact on this crowded genre?
The difference between alternative and pop is that alternative is supposed to be the music of the outsiders. What passes for alternative music these days isn’t really alternative at all. We haven’t heard music we like on modern rock stations in over ten years. There are a lot of great bands out there, but it seems they’re nowhere to be found on radio.
http://www.myspace.com/dinosaureyelids
Filed under: Interviews
Words by Simon Hadley.
Photos: Ojos Rojos.
Approximately 30 miles east of Los Angeles is the picturesque and residential town of Claremont; more recognisable for its historical buildings and higher education institutions, than psychedelic rock.
The release of Disappear has cemented Ojos Rojos as serious contenders to the shoegazing psych-rock crown; an accolade which is currently being shared by their recent touring buddies, Dead Meadow and Earthless.
Their spaced-out collection of second wave West Coast art experimentalism and thick, driving grooves, has been swirling around the minds of those with a love of dirty psychedelia for the majority of 2010.
George Serrano, one of the founding members of the four-piece, explains all:
As band names go, Ojos Rojos (“Red Eyes”) fits your experimental style perfectly. Who came up with the name?
Luis and I were thinking of something to name his jam band at the time and he said: “Ojos Rojos” and we started laughing. So when we got together we just kept that name…yeah it really fits us. We hate it sometimes too.
How long after forming did you first start laying down tracks?
Right away. We started recording songs in my kitchen and found some people who were into recording us better right after. We ended up recording an 11 song “demo” called ‘13’ that we self-released in late 2007.
The guys at Cobraside got a hold of it and were interested in releasing our newer stuff. A couple of tracks made it onto Disappear.
There are lots of integral, spaced-out passages on Disappear. How long did it take you to perfect and master these in the studio?
Not very long because we have no money. You just have to go for it and experiment. Our engineer was tripping at first, but got into it very quickly. It’s really fun going into a studio to record.
What are your favourite individual tracks on Disappear?
Umm….it depends on the day. We are kinda over the tunes in a way since we’ve been working on new material, but we love the record. ‘Step Outside’ is always our favourite…it’s a journey.
How important has playing live been in developing your sound?
So important because that’s where you really jell as a band, at the shows.
What was it like supporting acts such as: Black Math Horseman, Dead Meadow and Earthless? Are there any interesting stories that you’d like to share with us?
The interesting thing I can tell you is that they’re all very down to earth, nice people. We just fucking jam tunes and have a good time.
What sort of reaction did you guys receive in Ireland? Also, have you got any plans to return to Europe in the near future?
Ireland is amazing and they didn’t get us one bit haha! No really, it was a great time. We played some really small towns and met a lot of great people. We look forward to going there again someday. They called us ”O-Joes Ro-Joes” not realising Ojos Rojos is Spanish.
Are we right in thinking that there is an early Ride influence running though the record?
Yeah we love Ride, but we really don’t have that much in common, except we love guitars.
It is amazing to think that Andy Bell went from being a key member of Ride to playing with Oasis. Are you fans of Oasis?
They made some cool tunes, but whatever.
Paul McCartney has recently re-released a 25th Anniversary Edition of Band on the Run. What effect has latter-era Beatles had on your psychedelic style?
I don’t know. We love the Beatles and some of their individual records, but when we make tunes we look more into the future than into the past. We’ve always been sick of all of the other bands, haha!
What’s next for Ojos Rojos?
Recording our new material and playing shows. It’s always about recording and moving forward and being productive.
http://www.myspace.com/rojosojos
Filed under: Interviews
Words by Simon Hadley.
Photos: Groan and Thee Claw.
With the release of The Sleeping Wizard in October, Groan have established themselves as the best doom-worshiping four-piece to come out of Britain in the last decade.
I spoke to Groan to find out how they are adjusting to life as Britain’s newest doom export, as well as their unhealthy obsession with Zooey Deschanel.
When did you guys first meet, and where did the name Groan come from?
The Riff Wizard: Groan was sort of around this time last year or possibly before that. I wrote ‘Witchy Woman’ in 2008, so it was a long time brewing. Then it was just a project idea to have an EP online with a guy called Bill on bass and a vocalist called Dave. But it never really happened with us having other bands and commitments.
Groan came about again by accident actually, because I was in another band and we were getting a line-up together. There was this one dude [and I didn't want to make him feel left out], so I was like: “Oh yeah I have seven songs partially recorded we’ll just use them.”
That was Bill again. I think we parted ways in April because it wasn’t gonna work. The rest is probably best told by the others.
Forest-Dwelling Fuzz Creature: I’ve known The Riff Wizard for a few years through mutual friends and attending gigs. I was the last member to join Groan and didn’t meet the other two until after the album had been recorded!
Mazzereth: The Riff wizard said he had a photo of me in a compromising position with Jesus Christ. If I did not join he said he would sell the picture to my lady partner, I had no choice. I did not want to be responsible for the fall of an entire religion. Not yet anyway.
Thor’s Hammer: I’d met Lord Mazzereth at a couple of gigs before, and he mentioned on a forum he was singing for someone new. I had a listen and wanted a piece, so I fired an email off to The Riff Wizard five minutes before setting off to Roadburn. Again, I met them after we had recorded.
Are there any bands that you consider to be more important than others, in helping to define your take on the doom genre?
Forest-Dwelling Fuzz Creature: For me it has to be Black Sabbath. Everything that’s bunched under the doomy umbrella owes its existence to Sabbath.
The Riff Wizard: Sabbath and Cathedral.
Mazzereth: Queen & Van Halen.
Thor’s Hammer: Pentagram, Sabbath & Spirit Caravan.
How did you end up getting signed to Doomanoid Records? Also, how supportive have they been in promoting your work?
The Riff Wizard: I sent them an email when we had very rough demos at the start of Groan’s second form really. Steve messaged back and the ideas just escalated from there.
You are currently playing small venues around the UK. Surely it will only be a matter of time before the likes of Cathedral and Electric Wizard start taking you on tour?
The Riff Wizard: The gigs we have played are more than I could dream of, so if by some fluke we get to gig with these bands, I will be happy.
From what I understand, the four of you are spread out in different parts of the UK, fulfilling different commitments. Has it been hard to keep the momentum alive during gigs, due to the individual distances that you have to travel?
Forest-Dwelling Fuzz Creature: It’s tricky, but I think we’re proof that it’s entirely doable. Mazzereth has to travel furthest for rehearsals and he deserves a great big doomy medal for his commitment. We’re all really into Groan and all share the same ambitions with it. From the first day we met it was self-evident that we all knew what we wanted to achieve and how we’d go about it.
Thor’s Hammer: I open the Hotel Thor’s Hammer especially for whiskey and wine soaked jamming weekends in Sheffield. Because of how tough it is to get together, it always ends up turning into more of an event or a party.
On a similar point, have you got any tracks locked away that could make it on to your next album?
Forest-Dwelling Fuzz Creature: We’ve got about three albums-worth of unreleased material. The Riff Wizard’s youth is matched only by his, if I can invent a word, ‘prolificness’.
I got an email from him about a week after The Sleeping Wizard was released with nine finished instrumental demos. Throughout the following week Mazz was sending us all these totally righteous lyrics that he’d written for these songs.
I think we’re going to take our time to refine these ditties and hopefully all get together in a studio somewhere towards the end of next summer to lay them down.
The Riff Wizard: Yeah, I wrote like 30-odd songs and started writing music again last night.
Has there been any contact from any metal-based festivals in Europe, due to the well deserved praise that The Sleeping Wizard has received?
Forest-Dwelling Fuzz Creature: We haven’t heard anything yet, but I’m positive that we’d drop any previous plans at the drop of a hat to play some festivals next summer.
Thor’s Hammer: Southern Ireland is classed as Europe, right? We got offered something there but couldn’t make it. We’ll get our elegant asses to Europe sometime, I’m sure.
A lot of the themes addressed on your album tend to come from medieval myths and fairytales. Where did your interest in medieval Britain come from?
Mazzereth: For many, many years I have been interested in all History. I think it stems from sitting with my father when I was a little Mazzereth and watching lots of History documentaries. I guess I just got sucked in.
As far as fairytales go, I have always had a strong imagination and often as a child I would be happy playing on my own with toys and creating strange worlds. It was not as though I had lonely childhood, far from it, I had lots of friends. My father used to make marvellous wooden swords and shields and my friends and I would run about the village having big battles.
I also live near Stonehenge and Avebury Stones, so I think some of that cosmic energy must have been absorbed by my body. I don’t really get on that well with ‘normal’ life. I find it very hard to talk about Top Gear or X-Factor, so I enter the world of the Wyrde to avoid such dullness.
Having listened to The Sleeping Wizard countless times already, surely the Riff Wizard doesn’t need university to showcase his talents?
Forest-Dwelling Fuzz Creature: Sadly, a copy of our album will get you laughed out of most job interviews. At the end of the day, even Cathedral have day jobs!
The Riff Wizard: The only talent I have shown at Uni is how much a northerner can actually drink.
When did the obsession with Zooey Deschanel begin?
Mazzereth: I think it started with the Film ‘Almost Famous’. Those big blue eyes punched me in the nuts and my life was never ever the same again.
Could Zooey Deschanel and doom live hand in hand?
Mazzereth: I think it can. I think Zooey is doom and doom is Zooey. I would imagine that Zooey would get down with ‘Doom over the World’ by Reverend Bizarre, or any pop-doom track.
Thor’s Hammer: She WILL love us.
Are there any other bands on Doomanoid Records that you could recommend to our readers?
Forest-Dwelling Fuzz Creature: Iron Void rocks my socks.
The Riff Wizard: Yeah… Iron Void are top notch!
http://www.myspace.com/groanuk
Filed under: Interviews
Words by Simon Hadley.
Photos: Henry Gates and Sandra Villarreal.
The Peruvian experimental five-part released their third offering, Mecanica Celeste back in October.
An album that according to the Lima-based rockers is: “a unique take on psychedelia, conceived by manipulating traditional religious songs, textual ideology and poetry, with heavy fuzz guitars, swirling drones and spaced out wah-solos.”
With this album, Serpentina Satelite has brought their psychedelic teachings into Europe, picking up new fans along the way. Rhythm guitarist and vocalist, Renato Gómez took a break from his busy schedule, to speak to us about their rising reputation.
For our readers who are not familiar with you work, how would you describe Serpentina Satelite?
We tried to get to heaven but ended up in space.
Who were your biggest musical influences when you were finding your feet as a band and growing up in Lima?
The list is way too long. Perhaps the most relevant for all of us in the band are: Godspeed You! Black Emperor, Ash Ra Tempel, Spacemen 3, Loop, My Bloody Valentine, Amon Duul II, Brian Eno, Kraftwerk, Acid Mothers Temple and Iron Maiden.
How did the production and mixing process differ between Mecanica Celeste and Nothing To Say?
We have set more guitar and bass layers, more overdubs, as well as effects, keyboards, oscillations and what not.
There is more use of vocals and text all through the record and we did some recordings with a choir. Some are part of the record, while others have not been released yet.
The sound of it as a whole is a bit different, heavy and subtler, but more intricate. There are many messages within the songs for the listeners to find as well. This time we’ve tried to include a wider set of references.
Judging by the positive reaction to Mecanica Celeste, are you thinking about capitalising on the album’s success, by getting back into the studio to record a follow-up album?
We would like to tour Europe for a while some time next year.
A longer version of ‘Sendero’ is yet to be released. Are there any plans to release the track? Maybe as a limited edition download perhaps?
‘Sendero’ is just the beginning or entrance into a way longer trip called ‘Black Meditation’.
Staying on the subject of potential releases, have you got any plans to re-release your debut EP ‘Long Play’ for fans who are curious of how your early recordings compare to how you sound today?
At the moment there are other priorities. I personally think that what we are doing right now is much more interesting than what was going on back then.
That EP, I see more as a demo tape than anything else. Over the years those songs changed dramatically when we played them live. Along the way we’ve learned a lot more about studio production too. Dolmo’s participation in the band changed our sound dramatically.
In my opinion, he was like the missing piece to complete this radiant puzzle. Now both guitars tend to be lines of endless aural parapets, criss-crossing each other back and forth.
How supportive has Rocket Recordings been in promoting you to a European audience?
They’ve done a great job promo wise, as we are receiving reviews all over Europe. They work with great distributors as well. Chris and Johnny are great people, we couldn’t be happier.
Has the thriving underground scene in Lima influenced your sound at all? Are there any home-grown Peruvian bands that you could recommend to our readers?
Yes. Perhaps the one band from Lima that has inspired us the most and you should all be listening to the very second that this sentence is over, should be Hipnoascension.
Thanks for your time!
Thanks for your support! Keep listening. YOU ARE SERPENTINA SATELITE.
http://www.myspace.com/serpentinasatelite
Filed under: Interviews
Words by Simon Hadley.
Photos: Terminal Hospitality.
Terminal Hospitality is the monkier of a young stoner metal trio from Manchester, who released their debut EP for free earlier this year.
The three-piece are carving their names into the North West’s live metal scene, and they are also hoping to release an additional set of EP’s that showcases their earliest recordings, as well as new material.
I spoke with Anthony Burtwistle (drums) and Robin Griffin (bass) to find out what makes them tick.
How did you guys meet?
Ant: Me and Jamie started the band back in 2006 with a different vocalist, who soon left and was replaced by Robin.
Rob: We were all playing in different bands in high school, a lot of which happened to include Jamie. A year or so later when we left school, we happened to be the only ones left who still wanted to do it.
Where did the name ‘Terminal Hospitality’ come from?
Rob: It’s a level from a Hitman game. Other possible name choices were: ‘Anathema’ and ‘A New Life’, also from the said game.
You were briefly signed to Violet Haze Records before parting ways. What happened?
Ant: They were a small label fronted by a pub singer with bad hair, who had no clue about promotion, recording, etc and were generally disorganised.
Every time we threatened to leave they promised us the fucking world, yet came up with fuck all basically. They shut down before we could even leave in the end! Idiots!
Rob: I think in the space of about a year they made a banner for us, which blew away the next week at an open air festival. What more can I say?
Which bands influenced your early recordings?
Rob: When we started out we were all listening to different stuff really. Jamie wanted to rip off Motley Crue and Twisted Sister, while I was listening to a lot of progressive music and Ant was listening to stoner metal, both of which have kind of leaked through to our sound today.
Ant: We’re still trying to filter out the Motley Crue shite!
Manchester is renowned for its legendary indie scene. How hard has it been to establish your own individual style of stoner metal, in a city that is dominated by the ‘indie’ tag?
Rob: It’s not been easy to say the least. Most band nights in Manchester tend to be geared towards either indie, or more recently metal. While we defiantly fall more into the latter, we’re heavy in a different way. Kids who go to these shows come to see a night of Bullet For My Valentine clones and that just ain’t what we’re about!
Ant: It’s hard to fight against all the generic bullshit we come across gig after gig after gig. But the biggest difference between us and these bands is that we can actually play our instruments, we know our shit, and we’re confident about it. A lot of people that come to our shows are quite taken aback.
Rob: There are way too many bands nowadays that stand staring at their feet for the whole show. People seem to forget what the word ‘perform’ actually means
As well as music, football is also prevalent in Manchester. Are you football fans? If so, red or blue?
Rob: No, not at all!
Ant: I’m torn as one side of my family are blues, and the other side are reds. I myself am impartial, but I follow football.
What is your favourite venue in the North West?
Rob: For playing or watching? For playing it’s got to be Academy 3 for me. Great sound on and off stage and really friendly engineers.
Watching it’s the Apollo. I saw Dream Theater play the Apollo last Autumn. Left me speechless.
Ant: Playing-wise I’m gonna plump for the Roadhouse. Nice tight stage and always receptive crowds, and of course great sound!
What is the best album that you have heard this year and why?
Rob: 2010 has been a really bad year for music in my opinion. I can’t even remember the last new record I bought! That said, 2009 was a great year for prog!
New albums from Dream Theater, Porcupine Tree, Mars Volta, and five or so releases from Omar Rodriguez Lopez. Couldn’t ask for more.
Ant: It’s a toss up between Gods & Goddesses by Brant Bjork or The Union by Elton John & Leon Russell. Two completely different worlds, but both brill!
Any plans to head back into the studio in the near future?
Rob: We’re in a bit of a rough patch at the moment with Jamie being up in Huddersfield for Uni. Things have really slowed down in terms or writing and gigging, but we’ve got more than enough material for the moment.
Hopefully, we’ll begin recording a follow up to the Terminal Illness EP sometime next year, and we are also looking at getting some gigs recorded.
Finally, describe your sound in three words.
Ant: Erm…Not Robbie Williams? Toto on crack!
Rob: Very Fucking Loud!
http://www.myspace.com/terminalhospitality
