Heavy Feather - Débris & Rubble released on Sign Records

A couple of months ago the swedish label The Sign Records released "Débris and Rubble", the debut full length album of HEAVY FEATHER. On this record, the band has perfectly recreated the end of the sixties / early seventies bluesy sound inspired by Cream or Peter Green's Fleetwood Mac but with a twist of their own. 

What sets HEAVY FEATHER apart from the rest is not only the riffing science of guitar player Matte Gustavsson or the soulful vocal performance of Lisa Lystam but also their excellent songwriting that puts them immediately in the league of bands that will matter in the next coming years. 

So it was time for your truly to have a conversation with guitar player Matte Gustavsson. Here is what he had to say:

1) For the viewers of this blog who would not know you, What would you tell about Heavy Feather to introduce yourselves? How long are you guys together as a band?  Who is playing what instrument?

Heavy Feather is a rock band from Stockholm,  Sweden  with classic jam band influences. It’s the 60’s styles with bands like Cream, Mountain and Free. High volume and improvisations parts like that, busy drum and basses. But always a little bit of blues. Me (Guitar), Lisa (vocals and harmonica) and Morgan (Bass) did talk a long time creating a real rock band like the super groups in the 60’s. We love to play that kind of bluesy rock…. But we needed a drummer and then Ola Joined the band after jammin’ together. The band was created, it was in early 2017 and is featuring Matte Gustavsson - guitar; Lisa Lystam - vocals, harmonica; Morgan Korsmoe - bass and Ola Göransson - drums

2) About the newly released full length record "Débris and Rubble",  what can you tell about the recording process? Was this a "live" in the studio recording or a track by track recording with lots of overdubs?

We had an idea that we wanted this album to sound like we do in the reality. So we decided to play everything live, also the vocals. And we did. Of course the backing vocals and some small stuff are played afterwards but in general it’s totally a live recording in 3 days. And I think you can hear it, the live feelin’. I’m very satisfied with the results.

3) Do you use the nowadays digital recording technology or do you guys only work with analog machines in analog studios? 

It's actually not an analog recording but we worked like it would be. I think analog recording is more about the psychology than the gear. You only have your 2 or three takes and if you think like that in a digital recording you can have a great and organic sound too. But I love to record totally analog too so maybe the next record…

4) Is there a main composer in the band or is everybody involved in one way or another?

We all are very involved in the writing process but Lisa is writing all of the lyrics and I made most of the riffs and parts but I’d say everyone is composing.

5) What is your favorite topic/topic that comes easily when you write a new song?

Lisa writes about our lives and relations/relationships and stuff like that. I like that. I’m bit tired of this Satanic thing and all the stuff about beer and bad hangovers…

6) Heavy Feather is sometimes described as a "Classic rock" band. Do you agree with this? Are you proud of it or do you consider there is way more than that?

Of course I agree that Heavy Feather is Classic Rock. But for me Classic Rock is the 60’s style as I described it in an previous questions. Not the cliché of rock if you know what I mean.

7) Do you have a new video on youtube  featuring a track from the new LP??  
We have our first single “Where Did We Go” as a Official video and then a couple of official live video recordings but I we will do a new one this summer.



8) What can concert goers expect at a Heavy Feather gig? Are you playing any famous cover songs? 

On this first tour we of course play the songs from the album and some covers. Not the most famous one, more our personal favorite songs. Some people know it but not everyone.

9) Are there any bands in Sweden today you consider yourself close to, musically speaking?

Of course there is a lot of bands in Sweden  that play old school rock but not exactly this type. We have much more blues influences then everyone else. Many 70's retro rock bands today are coming from the metal and hard rock scene. We are the opposite and we have played mostly blues, just like the bands back then. I think you can hear it.

10) To what kind of music did you listen to as teenagers? What were your favorite bands as a teenager? Name 3 bands that you consider still have an influence on your own work today.

For me personally it’s Kiss and Cream and that is still a big influence on me. The whole British Blues boom from the 60’s with Fleetwood Mac etc.. We have our common favorites but we listen to a lot different kind of styles too.

11) What are the plans for 2019 as far as Heavy Feather is concerned?

In September we’re going on a German Tour for two weeks and in the end of this year we will record our second album.

German Tour dates for September:

05.09.2019 - DE Duisburg, Steinbruch
06.09.2019 - DE Münster, Rare Guitar
07.09.2019 - DE Wredenhagen, Café Scheune
08.09.2019 - DE Norderstedt, Music Star
10.09.2019 - DE Nürnberg, Z Bau 
11.09.2019 - DE Bielefeld, Potemkin
12.09.2019 - DE Berlin, Zukunft Garage
13.09.2019 - DE Jena, Kulturbahnhof
14.09.2019 - DE Frankfurt/M., Burg Herzberg Festival Party @ Das  Bett

Purchase a physical copy here : https://freighttrain.se/en/the-sign-record/heavy-feather/

Purchase a digital copy here: https://heavyfeatherofficial.bandcamp.com/album/d-bris-rubble

Pezband - Cover to Cover Remix

If one had ever asked yours truly which PEZBAND was his favorite record, it would never had come to mind to answer "Cover to Cover". Well, even the band itself was not happy with that record.

But now one should seriously reconsider before answering that question because this remixed version make "cover to cover" one hell of a record with a bright and powerful sound just the way it was always meant to be.

So it's time to shine the light again on one of the best american power pop bands ever. One that never was afraid to put some serious power in his pop!

Time to talk to singer and guitar player Mimi Betinis.

First I will say a big warm hello to fans who are new to listening to the group and to the release of Cover To Cover. We are from Oak Park, IL. I sincerely hope you enjoy our sound.

1) For the viewers of this blog who would not know you, What would you tell about PEZBAND to introduce yourselves? How long are you together as a band?  Who is playing what instrument in the band nowadays?

In the spring of 1977, our 1st LP was released on Passport/ABC Dunhill records. We were the 1st American rock group to hold the Power Pop label which came out of the Passport promotional department and we were featured on NBC's Today Show with Jane Pauly as "the latest sound, powerpop". We also played the ABC/Dunhill record convention that spring and were voted most promising act of 1977. Exciting stuff for us back then. We had been together as a rock group for about 5 years before we signed with Passport Records. Nowadays- Mike and I play and record. Mike plays with different groups. Mick plays drums with different groups and Tommy plays acoustic guitar at home.

2) About the recently reissued full length record "Cover to cover",  do you remember the recording process? Was this a "live" in the studio recording or a track by track recording with lots of overdubs? The album is now completely restored and remixed by producer John Pavletic. Did he work with the original multi-tracks recorded in 1979?

Many of the basic tracks on Cover To Cover were recorded on a remote 8-track tape machine. We rented a small house and did a great deal of pre production and recording. The recording studio which was called Tanglewood was in the process of being built so we were there only on a part-time basis. Once the studio was completed we recorded full tracks and many overdubs there. John Pavletic worked with us at both facilities. The 24 track masters were mixed at Tanglewood with John in 1979. I had the 24 track original recordings digitized and took them to John's home Pro Tools studio in March of 2018. He worked on the tracks for about 9 months.

3) If Pezband were to record a new album would you consider using the nowadays digital recording technology or do you guys only work with analog machines in analog studios?

We have done a few recordings in the past few years. The process was rhythm tracks live to tape, then tape transferred to digital Pro Tools system. All of the overdubbing was done on Pro Tools.

4) Is there a main composer in the band or is everybody involved in one way or another?



All of us write the material but I would say that I have done the most writing, co-writing and singing.

5) What is your favorite topic/topic that comes easily when you write a new song?

A song topic arrives from many influences such as current events, girlfriends, ex-girlfriends, situations, books and of course love. Many of the songs I have written were based on my personal life.

6) To what kind of music did you listen to as teenagers? What were your favorite bands as a teenager? Name 3 bands that you consider still have an influence on your own work today.

The groups we listened to as teenagers were The Beatles, The Yardbirds, The Kinks, The Who, Argent, Peter Green's Fleetwood Mac, John Mayall and The Bluesbreakers, Badfinger, ELO, and countless others. The 3 artists that influence my work today would be Jeff Lynne, Paul McCartney, and Wes Montgomery.

7) Do you have a  video on youtube featuring a track from the LP??

Yes, check out the Stella Blue video.



8) What can concert goers expect at a PEZBAND gig? Are you playing any famous cover songs during the gig? 

I really can't answer this question because we are not playing at this point.

9) Are there any bands in the USA today you consider yourself close to?

I think a fair comparison would have to be set to the 1970s and the band that was our competition was Cheap Trick. They opened many a show for us back then. At some point we opened shows for them as well.

10) What are the plans for the rest of 2019 as far as PEZBAND is concerned?

The plan for the rest of 2019 regarding Pezband is to continue the Cover To Cover promotion campaign. The media promotion is handled via Marty Scott and JEM records. I do most of the radio interviews and rely on our webmaster/artist Randy Nargi for all the special internet video and production. There might be a Best Of Pezband released this year.

11) Anything you wanna add?

On behalf of the group, I would like to thank all our fans around the world for their support and interest in our music. Music is powerful and I am thankful to be a part of it.

Go to Pezband's Official page. http://pezbandofficial.com/

PURCHASE A PHYSICAL COPY HERE:
http://www.jemrecordings.com/

https://www.amazon.com/s?k=pezband+cover+to+cover&crid=2Q2PTNI1V6E31&sprefix=pezband+%2Caps%2C156&ref=nb_sb_ss_i_1_8

Hammered Satin - "Velvet Vortex"

"Velvet Vortex" is the sophomore full length by the Los Angeles based Hammered Satin. The album is released on Dead Beat Records and is a huge improvement compared to their first album, Glamorama.

Gone are the hard rock influences. The addition in the band of Elizabeth Boyd who took over on guitar and Victor Penalosa on drums had a very positive influence on the new sound of the band that is now embracing a more Junkshop Glam and Bubblegum direction.

This new album is a real rock'n'roll masterpiece displaying one catchy tune after another and it'll keep you humming the songs for hours and hours.

It was time for yours truly to have a very enlightening conversation with lead vocalist -and also  record collector- Noah Wallace.  

1) For the viewers of this blog who would not know you, What would you tell about Hammered Satin to introduce yourselves? How long are you together as a band?  Who is playing what instrument in the band nowadays?

Hammered Satin started in Los Angeles California in late 2010 with Dan Sandvick on Bass and Conor Berhle on guitar. Our first album "Glamorama" was released in 2013. We had more of a 70's hard rock fused with glam sound with our original lead guitarist Conor on the first album. I started to push the band in a more Junkshop Glam and Bubblegum direction like my first two bands, Teachers Pet and S’cool Girls, when Hammered Satin started doing a few 7” 45 singles after Glamorama.

You see, I’m a record collector and I’ve been collecting what is now known as “Junkshop Glam” or
“Proto Punk”. I have amassed a few thousand 45’s of 70’s Glam and late 60’s Bubblegum and have been collecting since the 1990’s when it was simply known as “Glitter Rock” or “70’s Glam”. Mostly European bands.

Anyways, Teachers Pet started in the late 90’s and covered groups like Milk N Cookies, Hello, Kenny, the Boys (UK) and Stanley Frank. Then in the 2000’s S’cool Girls covered Iron Virgin, Angel (UK glam original one), Hello etc. There is even a version of Angels “Little Boy Blue”, which was written by Andy Scott and Mick Tucker of the Sweet, on the S’cool Girls EP. 


Anyways, long story short, Conor left the band and moved back to Baltimore after being in the band for 8 or so years. My girlfriend, Elizabeth Boyd, took over on guitar. About a year ago Victor Penalosa who is also in the Zeros and formerly played in the Flamin’ Groovies, took over on drums. Now the only two original members are Dan Sandvick and I. Don Bolles of the Germs, Celebrity Skin and Ariel Pink etc has been singing backup vocals for us at live gigs and sings backups on a few tracks on the ‘Velvet Vortex’ album.

2) About the newly released full length record "Velvet Vortex",  what can you tell about the recording process? Was this a "live" in the studio recording or a track by track recording with lots of overdubs?

Yeah, the bass and drums were live with scratch tracks of rhythm guitar and vocals. We recorded that to analog tape. We added overdubs of other instruments and vocals after we got the foundation tracks. Dan also played Moog Synth on a few tracks. Beth did some slide guitar overdubs tuned to the Glitter Band tuning with a fuzz pedal. I asked John Rossall of the Glitter Band, he’s on Facebook, how to get the tuning and he told me! There’s footstomps and handclaps and vibraslaps and tambourine. Jonny Bell the engineer played a Farfisa organ on a few tracks to get an authentic Bubblegum sound.

The big difference this time was working with an Engineer who actually listened to me and did research on YouTube of Junkshop Glam singles. He not only knew how to get all the right drum and guitar tones, he actually had a lot of vintage recording gear.

3) Do you consider it should be foolish not to use the nowadays recording technology or do you guys only work with analog machines in analog studios?

We did a blend of both. It makes the process go faster. Which is helpful when you have to cut corners on a budget. I think we recorded and mixed the entire album in 6 days. My vocals and double tracks were mostly first take so they aren’t perfect but I pulled it off. This album sounds more legit 70’s Glam than when we spent an entire month and 5 times the money!

4) Is there a main composer in the band or is everybody involved in one way or another?

I write the lyrics and the vocal melodies to the songs with basic chord structure on a guitar. The rest of the band writes things like guitar solos and contributes a lot to the composition and finished project that I could never do on my own as a musician.

5) What is your favorite topic/topic that comes easily when you write a new song?

I keep it campy, fun, quirky and positive. People like Mike Chapman and Marc Bolan are my main lyrical and songwriting influences. But I like to think I have my own original twist on it. I’m also singing about modern day themes at times so it’s not completely retro throwback. But as 70’s Glam as I can possibly take it!

6) Hammered Satin are described as a "glam" band. Do you agree with this label? Are you proud of it or do you consider there is way more than that?

I’m proud of the Glam label. 70's glam is considered proto punk and influenced the entire punk movement. It was born out of the mod psych thing of the late 60’s. Glam also has a 50’s R'N'R throwback sound at times. Bands like Roxy Music also inspired new wave groups like Duran Duran etc. New Wave then sparked the indie rock movement. In my opinion 70’s Glam (NOT 80's) is the best overall genre if I had to choose. If people want to try and turn the word Glam into an insult then they usually are simply not well educated on the history of music. Another big misconception is when people think of the 80’s hair bands when they think of the word Glam. It’s two very different things. I like bands from all eras of music but Junkshop Glam or 70’s glam is my favorite.

7) Do you have a new video on youtube featuring a track from the LP?? 

We filmed a new video for the song ‘Planet Boogie’ off the new album a few months ago but it’s not finished being edited still. It’ll be out soon! Hopefully!



8) What can concert goers expect at a Hammered Satin gig? Are you playing any famous cover songs during the concert? 

Hammered Satin rarely does covers. We once did some Bowie songs just after he passed for a tribute gig. We believe in our original songs enough not to rely on covers. If we did do a cover it would be something Junkshop like Pantherman or Bonnie St. Claire etc.

9) Are there any bands in the USA today you consider yourself close to musically speaking?

Not exactly. There’s a few bands that sort of sound like it but they certainly don’t look the part and they may not even consider themselves “glam” anyway. As far as I know.

10) What are the plans for the rest of 2019 as far as Hammered Satin is concerned?

Right now we have some gigs in California. Tonight at Monty Bar in LA is our ‘Velvet Vortex’ Record Release Party at our monthly Junkshop Glam DJ night called Velvet Tinmine.
June 28th we play the Casbah in San Diego. July 5th we play the Burger Boogaloo pre party in Oakland and Eli’s Mile High Club. And July 18th at the Whiskey A Go Go with an original 70’s Glam band from LA called the Hollywood Stars. After that we might go back into the studio and record again. We were planning on touring Europe but it fell through. We’ll get back over there sooner or later!

11) Anything you wanna add?

You can order the ‘Velvet Vortex’ album on vinyl at dead-beat-records.com

Thanks for the interview Eric!! All the best :) - Noah

PURCHASE A DIGITAL COPY HERE: 

Geoff Palmer - Pulling Out All The Stops

Hailing from Rochester, New Hampshire, Geoffrey Palmer is one of the nicest persons around in the music business and is best known (so far, wait until his solo career goes sky high ha ha ha) as a founding member, songwriter and guitar player for The Connection and before that, for The Guts.

I had personally the pleasure to meet him on various occasions as he toured Europe. First, as guitar player for the KURT BAKER BAND and a few years later with The Connection.

So when I heard that Rum Bar Records and Stardumb Records were releasing his brilliant solo debut full length record, there was no way yours truly could miss the opportunity to talk with him again and to feature him on this blog. Here it goes:

1)    For the viewers of this blog who would not know you, What would you tell about you and your musical background to introduce yourself? 

Hello, my name is Geoff an I'm an addict….. An addict of Rock'  N' Roll!!! I've been playing this music game for quite some years. A few acts at least in the underground world you might know are The Connection, The Guts, New Trocaderos, Kurt Baker Band, The Queers and, The Nobodys.

2)    About the newly released full-length solo record "Pulling Out All The Stops," what can you tell about the recording process? Can you also explain the title? What are you referring to?

It started as a fun project and, it ended up that way too! I did a session tracking four songs with my buddy Adam Cargin. I was pumped with how it came out. It felt good dusting off the old "punk" chops from back in my youth. I then set up a second, third, and fourth session. Each time at a different studio with different musician friends from over the years. We would learn a few songs and record them. It was a total blast, and I'm super happy with how it came out. The name "Pulling out all the stops" came from Stefan Tijs of Stardumb Records.


3)    Do you use the nowadays digital recording technology, or do you only work with analog machines in analog studios?

Both digital and analog. I love recording to tape, but fewer studios offer that today, and it is a higher price point. Whenever possible I like to get at least the drums, bass and guitars to tape.

4)    Leaving the covers on the side, were your own songs composed for the specific purpose of this record or are that songs you have composed over the years and deemed not fit to make it to a The Connection record?

It started with "This One's Gonna Be Hot." I wrote that and knew it wasn't really a Connection song. That was the catalyst for this whole thing. I always have some songs kicking around, I love writing. I would say 80% was written for this album. A few ideas are older songs I had little demos of that might have been on the table for The Connection.

5)    What is your favorite topic/topic that comes easily when you write a new song?

Ummmm... I think it's all over the place. It could start with a funny line, something I saw in a movie or a situation I was in. I try not to be pigeonholed into a subject matter.

6)    Do you have a new video on youtube  featuring a track from the new LP?? 

Yes, a few actually but I would not call them a "video" in the sense of a big production. I filmed myself on my iPhone and edited together some stuff. It's merely another way to share the songs for marketing. It is not some art piece that tells a story. Don't expect November Rain, haha! For the track "Giving In," I stole an idea from The Replacements Bastards of Young. Keep it simple!



7) Are you gonna put a band together and perform this solo album on the road? Are you gonna play any famous cover songs live? 

Yes, I do plan on doing some live shows. Still trying to figure out who is available to be in the "band." I will have news about that later down the road. As far as "famous" cover songs… We won't be doing any Beatles but probably a song by The Vapids or Gino and The Goons. They are pretty famous in my book!

8) Are there any bands in The USA today you consider yourself close to musically speaking?

That is hard to answer. There are quite a few impressive records that have already come out in 2019. I listen to all kinds of music from top 40 hits to very small independent bands on basement record labels. For the genre I think my record fits in (punk, pop-punk, power pop) I would say the standouts so far this year are The Suck, Local Drags, Steve Adamyk band, Brad Marino, The Gold, and Big Eyes to name a few.

9) Does your solo album and also the solo album of Brad mean that the Connection is on a indefinite hiatus?

Not really. The Connection will do something again sooner than later, probably. Brad and I have been talking about it. Both of us like to keep busy musically, love writing, recording, and always have songs kicking around. When the Connection does something, it is planned out. We set time aside and make the Connection. There is plenty of time outside of the Connection for either of us to work on other musical ventures. 

10) To what kind of music did you listen to as teenagers? What were your favorite bands as a teenager? Name 3 bands that you consider still have an influence on your own work today. 

Outside of the Beatles, Stones, Dylan, Ramones, and Tom Petty (If you don't like those bands, why are you playing RnR?). I would say Green Day (and anything Billie Joe does on the side), The Dwarves and The Lemonheads.

11) What are the plans for 2019 as far as your solo career is concerned?

I don't have any real plans. I will probably do some shows and work on another LP and/or EP. This "solo" thing didn't start with a road map. It was a fun project to keep myself busy. I'm still having a great time, and I've been pleasantly surprised by the reaction. Like with most things I'll do it until it isn't fun anymore. Rock N Roll is supposed to be a happy feeling, a party and I like fun!

12) Do you remember that last year you had promised me a "Wish You Success" CD but never actually sent it? :-)))     

Now that you mention it, yes I do, and I'm sorry about that. Looks like I need to make good on my word. I will get that CD in the mail along with my solo album!

13) Anything you wanna add? 

Thank you for the questions!! It is super cool you reached out to me. One of my favorite things about music is the friends I have made over the years. You are one of those people!!




Purchase a digital copy here : https://geoffpalmer.bandcamp.com/album/pulling-out-all-the-stops



Purchase a physical copy here:

USA – The MACHINE SHOP: 
www.themachineshoprocks.com/Geoff_Palmer_Pulling_Out_All_the_Stops_LP_p/gp2.htm 

EUROPE – STARDUMB RECORDS 
www.stardumbrecords.com/products/geoff-palmer-pulling-out-all-the-stops-lp 

CD WORLDWIDE - Rum Bar Records https://rumbarrecords.bandcamp.com/

The GOLD

Kurt Baker is probably the hardest working man in rock'n'roll these days. It's hard to count the various bands / projects he is involved in. But when the man is involved in a band not only do you know that the songs will be great but you also know that the group will kick some major ass.

With The Gold -featuring Kurt Baker (guitar, vocals) and Marky Las Vegas (bass, vocals) -founders of the group-, Oky Von Stoky (drums) and Mark O'Flaherty (guitar)- homage is paid in full to The New York Dolls, Johnny Thunders and the Heartbreakers, The Rolling Stones or The Stooges.

The Gold's debut full length, produced by Mike Mariconda (Remember The Raunch Hands anyone?) , has been released very recently on Penniman/Mean disposition records. Get it! You won't regret it.

1) For the viewers of this blog who would not know you, What would you tell about THE GOLD to introduce yourselves? How long are you together as a band?  Who is playing what instrument in the band nowadays? 

Hey everybody, we are the GOLD from Madrid. We formed back in 2016, but back then we were called Kurt & Marky. That didn't last very long, because that name kinda makes us sound more like Sesame Street characters, and since we kinda are already like that, we decided we needed a better name. So we chose the Gold. Everybody wants a Gold record! So now, with our new record in your collection.. you can have one! Ya, so Marky sings, plays bass sometimes. Kurt plays bass, sings sometimes and even plays guitar. Mark O'Flaherty plays lead guitar. He's from Canada. Oky Von Stoky plays the drums and keeps us from going WAY too CRAZY!

2) About the newly released self titled full length record,  what can you tell about the recording process? Was this a "live" in the studio recording or a track by track recording with lots of overdubs?

We recorded this album with a great producer named Mike Mariconda. He wanted to get us sounding nice and dirty. He turned up the amps really loud and we had a lot of feedback. We also had a lot of beer, whiskey and other substances abundant for inspiration. So most of the tracks were all recorded live.. all of us in the same room. Some of the tracks were even done in 1 or 2 takes! Sometimes you play a track 10 times and realize that even though a couple of guys fucked up on the first take, all in all, it's the best one.. and who cares if there are a few fuck ups. Those are beautiful little blemishes that make a real rock n roll record!

3) Do you consider it should be foolish not to use the nowadays recording technology or do you guys only work with analog machines in analog studios?

At some point when it comes to working with analog tape and analog studios, it's almost foolish because it cost so much money and budgets are tight with rock n roll bands and independent labels. We'd love to record to analog tape and have it be 100% analog but that just ain't in the budget baby. Sorry to say. We recorded this album in less than 4 days.. that's all we could get in the studio, but we made it work thanks to digital technology.. and that's even with a couple of one takes! Most of this is in part to the great production work of Mike Mariconda. He understood what we were going for sound wise... we had a real intention on making the record have that NYC vibe.. The Devil Dogs, Dictators, Heartbreakers and Dolls. Hell, even the Stooges... and that was all right up Mike's alley, so digital or analog.. fuck it, he's gonna make it work.

4) Is there a main composer in the band or is everybody involved in one way or another?

Marky and Kurt started the project by writing tunes and collaborating together. So the majority of the new record consists of compositions that were co-written by them. They were living really close to each other in a neighborhood in the center of Madrid, so they would often get together and have a bunch of beers, maybe some cake.. a cup of tea even. And then they'd work out some songs! Marky is a storyteller, with a lot of experience on the street.. he's seen it all. Fast women, dangerous criminals, all kinda stuff up in the north of Spain. His experiences were the main inspiration to many of the tunes on this new album. Kurt worked more on the musical part, writing the melodies and the harmonies to accompany Marky's words. Thinking to the next album, we're working on making more songs together as a group in a collaborative effort. We all have a lot of fun working with each other, so why the hell not!

5) What is your favorite topic/topic that comes easily when you write a new song?

Usually, our song topics include girls, beers, parties, drugs, nightmares, sailors, cowboys, prostitutes,  living on the streets, going to the rodeo, telephone sex, Canada, bowling, La Ermita del Santo, down at Los Caracoles, cheap beer, more girls, bad relationships, gentrification, life on the road, life in the shit, touring, trouble, crimes and ghosts.

6) When I listen to THE GOLD I hear a more muscular and sped up version of The Flamin' Groovies circa the Teenage Head period. Would you agree with this ? Are you proud of it or do you consider there is way more than that? 

We actually cover Teenage Head by the Groovies live. We love that song, but we wouldn't really consider them as a major influence to our sound. For us it's more like we mentioned before. Groups like The Heartbreakers, Iggy and the Stooges, Nervous Eaters, Lou Reed, New York Dolls... things like that.

7) Do you have a new video on youtube featuring a track from the LP?? 

We do! It's for the song "Blue Monday" and you can watch it on YouTube! Filmed at the legendary La Via Lactea in Malasaña and directed by 5 time nominated Goya Awards director Tito Ramirez!



8) What can concert goers expect at a THE GOLD gig? Are you playing any famous cover songs during the gig? 

We do a few covers here and there. Lately, we've been playing "Tropically Hot" by the Berlin Brats, "Bang Bang Bullet" by Streak and "Savage" by Fun Things. We also sometimes bust out "Teenage Head" by the Groovies, "Planet Fever" by the Nervous Eaters, and "Spooky" by the Classic IV.

9) Are there any bands in Spain today you consider yourself close to, musically speaking?

We are close to a lot of bands in Spain. Many great musicians.. all special in their own way. But musically speaking? No! We are the only band that is making kick ass rock n roll in Spain and we don't give a fuck if anybody thinks otherwise!

10) What are the plans for the rest of 2019 as far as THE GOLD is concerned?

We're gonna be rockin' all over Spain until the year is finished promoting this new album.. then it's time to make a new one. Maybe we can play in other parts of Europe, we love finding out about the new hip places to play and the tasty wine to drink. Each town and corner has a new surprise, so we wanna check those surprises out! Hopefully, we can clear up our criminal records (just petty theft mostly) before 2020 comes around. We will let you know!

11) Anything you wanna add?

Well, it's just that sometimes you've got to understand the things that you can't understand. Thank you! Goodbye!

Purchase a physical copy here:  https://pennimanrecords.com/collections/mean-disposition

Purchase a digital copy here:

THE VICE BARONS - Lookin' In The Face Of Evil

More than 20 years after their break-up, The VICE BARONS are back with 12 new tracks produced by the legendary Detroit producer JIM DIAMOND (White stripes, The Sonics, The Dirtbombs,...) 

The album is influenced by the 60's fuzzy and psychedelic sounds of Italian movies. 

It is featuring 10 original tunes penned by guitar player Eric Knoxx and 2 covers. 

Three years in the making but finally here it is.

The Resonars - No Exit

Released at the end of last April, No Exit is the first Resonars album in 5 years.Once again, Matt Rendon, the mastermind behind the band, is handling all aspects of the recording and engineering at his very own Midtown Island Studios. 

He is playing most of the instruments but could also count on the help of some friends like Resonars live drummer Johnnie Rinehart who plays on half the tunes and elsewhere live members Ricky Shimo & Travis Spillers played bass & sang on two numbers.

It was time for this blog to have a very enlightening chat with the man himself. Here we go:

1) For the viewers of this blog who would not know you, What would you tell about The Resonars to introduce yourselves? Can you tell the full story of what once was a band and now more or less is you alone when studio work is concerned?  Who is playing what instrument in the "live" band? 

The Resonars are a four-piece band from Tucson, AZ - Matt Rendon (guitar, vocals), Isaac Reyes (guitar, vocals), Johnnie Rinehart (drums) and Ricky Shimo (bass, vocals). Isaac, Johnnie and Ricky all play in the band Lenguas Largas, who many people consider, myself included, to be the greatest band in Tucson.

In 1998, after several years of playing in a full band version of the Resonars, Star Time Records put out the first LP - The Resonars, an album consisting of demos made from 1995-1998. The early band (1991-1997) was myself, Mario Cordova on bass (replaced by Forest Dunn in 1993), Eric Royer on guitar and Dustin Moyer on drums. Towards the end of the band I didn't feel we had the right amount of energy for the songs I was writing, so I started making demos to hear what they would sound like played the way I wanted. 

Also, in the 1990s, the Resonars were marginalized by local music-goers, press and radio for being 'stuck in the sixties' or some bullshit. We played to 5-10 people most of the time and  never caught on there because most of the Tucson music scene was consumed with desert rock, a regional form of alternative country. We weren't part of that, and didn't want to be part of that,  so the band stopped playing shows and eventually broke up.  Well, that first record caught the attention of Get Hip Records in Pittsburgh and they released the next three records (Bright And Dark, Lunar Kit, and Nonetheless Blue) and after that we were picked up by Burger Records in Fullerton for the next two (That Evil Drone and Crummy Desert Sound). 

From 1998-2012 the Resonars never played a show. It wasn't until Sean and Lee from Burger asked Isaac to ask me to put a Resonars together for SXSW 2012 that we started playing again. That version was James Peters on drums, Jeremy Schliewe (from Harsh Mistress) on bass and Isaac on guitar. The next year Ricky joined on guitar and we played like that for two years and was the band that toured Europe in 2013. After that James quit and the band was put on ice for a while because Lenguas Largas had a lot of activity planned for the following year. After that, things got kooky. 

We decided to start again, we got Johnnie in in drums and my wife Cherish (from Sea Wren) on rhythm guitar but then Jeremy quit and Ricky came back to fill in on bass and Cherish felt like she couldn't do it anymore. Again we stopped playing but soon after picked up Andy Puig on guitar and Nate Gutierrez on bass and that lasted for another year and then Andy quit and I just figured - forget it. When the Resonars were offered to play Purple Weekend in December 2018 I thought - well, who are the three guys I trust more than anyone and with whom I'll have the most fun? It was easy - Isaac, Johnnie and Ricky. So that's the band now and forever more. 

2) About the latest released full length record "No Exit", what can you tell about the recording process? Was this a "live" in the studio recording or a track by track recording with lots of overdubs? 

The recording process was pretty hasty and rushed. I kept Trouble In Mind waiting for five years. The problem was is that I also run a recording studio called Midtown Island and I hadn't yet learned to balance my creative energy, as pretentious as that sounds, but it was true, I was doing so much work for other bands my own writing suffered. So somewhere in the middle of 2017 me and Johnnie just started bashing away at new songs. We would pick a day and make sure we had a new song ready to go every time. Johnnie listens to the song, we take three or four rehearsal runs and then press record. I prefer players who are on their toes and can think fast and play what's best for the song and Johnnie nails it every time. After that it's bass (handled by either Johnnie or myself), vocals and then overdubs. Ricky Shimo plays bass on Louise Tonight and Travis Spillers (from Freezing Hands) co-wrote and sings lead on Gotta Get Out.

3) Do you use the nowadays digital recording technology or do you only work with analog machines in analog studios?

I've been using a 4-track Vestax MR44, Otari 5050 or Alesis LX20 on the Resonars tracks. I hate the use of computers for recording and think it spoils musicians. We will never go beyond eight tracks because any more puts bands in a false sense of security. On 8-track, decisions have to be made on the fly and you have to live with them so it's gotta be right. 

4) Could you explain what you meant by naming your latest album "No Exit"? Are you talking about the state of the world, the state of the music in general or is this something about your personal life? When we built the studio we bought a pair of double doors from a construction site that had the frame and hinges facing the wrong way - so it reads NO EXIT from the outside. I couldn't think of a title for months until one day I looked up at the door and it hit me. I suppose No Exit, to me, refers to me and my friends who have been making records for so long. We know we're gonna do it until we're physically unable so No Exit, while seeming negative at face value, is really a call of encouragement. What the fuck else are we gonna do? We all have shitty jobs and no hope for this country, we might as well fight it out doing what we love and bring some beauty and creativity in to the world.

5) What is your favorite topic/topic that comes easily when you write a new song?

Nonconformity. All my songs touch on it in one way or another. Do what you love. Don't let friends or family pressure you in to making decisions off your chosen path.

6) The Resonars are described by some people as a being a "60's psych/garage" band. Do you agree with this label? Are you proud of it or do you consider there is way more than that?On our web page we call ourselves 'psychedelic garage-pop' which I stole from a Bob Pollard quote. That's about right. I don't care for the 60's tag because we don't dress like the 60's and we don't put ourselves out that way. I told the story in an interview a while ago that when we played the Purple Weekend festival in Spain, people were taken aback by us because we don't give a fuck about dressing up, we care about blowing your brain out with 45 minutes of loud rock and roll.

7) To what kind of music did you listen to as a teenager and does it still influence your today work? What were your favorite bands as a teenager? Name 3 bands that you consider still have a influence on your own work today.

I was a teenager in the 1980s and I hated absolutely everything I heard. Granted, I was only exposed to the radio and MTV and played football so I didn't come in contact with any music nerds. Luckily my older brother Mark always had 60's stuff pumping out of his room and I loved that stuff from day one. By the time I was 12 I knew most everything by the Beatles, Rolling Stones, Yardbirds, Byrds, etc. and was studying liner notes and seeing names like Elias McDaniel, McKinley Morganfield and Chester Burnett. I looked up those cats and it opened up a whole new world to me. I would say that my teenage years were pretty much about the Who, the Beatles and the blues. More than anyone, though, and I think this is fairly obvious, I'm influenced by the Who circa 65-69. I love the athleticism of their music and their particular energy connected with me when I most needed it as a kid.

8) Do you have a new video on YouTube featuring a track from the new LP??We haven't shot any videos but there is a video out there that our local NPR affiliate shot of Johnnie and I recording Gone Is The Road. It's not on YouTube though and I've no idea why.

9) What can concert goers expect at a gig of The Resonars? Are you playing any famous cover songs in concert? 

Well, as mentioned earlier they can expect a loud, dynamic set of catchy 2:30 songs. You know - Fender Twins, Marshall half-stacks, Ludwig drums, two Fenders and a Gibson. We don't play any covers these days.

10) Are there any bands in The world today you consider yourself close to musically speaking?

Hmm. If we're close musically to any other bands, it would have to be the Tucson bands with whom we all share members - Lenguas Largas, Freezing Hands, Free Machines, Anchorbaby - we all record and hang out at the same place so there is definitely a cross-pollination of ideas and a core sound that pulses through all the bands.

11) Anything you wanna add?

Nah, I'm cool. Thanks, Eric!

PURCHASE IT HERE: https://theresonars1.bandcamp.com/album/no-exit