interview

INTERVIEW: Fynn and Philipp of The Picturebooks

thepicturebooks-614x521The Picturebooks are a blues-soaked German duo consisting of Fynn Claus Grabke (vocals/guitar) and Philipp Mirtschink (drums). Recently signed to the highly regarded LA psych/stoner imprint Riding Easy,they released their first album for the label, entitled ‘Imaginary Horse’, in late 2014 in the US and are currently on an extensive UK tour with The Answer to promote the forthcoming UK release of the record.

TPB-Cover-1400-pxRecorded in the same garage where they regularly refurbish and repair motorcycles and choppers (both are enthusiastic bikers), ‘Imaginary Horse’ captures a raw, rich and real energy befitting the room’s natural reverb, industrial aura and spiritual spark. More importantly, it has begun to rev up the boys’ career.

The video for the first single from the album, ‘Your Kisses Burn Like Fire’ is a sweaty, boot-stomping affair featuring a growling Grabke, a driving backbone via Mirtschink….and some beautiful scenery. It can be seen here:

It was at Chinnery’s, Southend-On-Sea, where I managed to sit down and have a face-to-face chat with Fynn and Philipp following a 30 minute set that left those who witnessed the performance breathless, hot and sweaty.

MJ: Boys, what a tremendous show you put down for us here at Chinnery’s . I’ve gotta start with Phil firstly because it looked as though you injured your hand during that set because you were sort of shaking it and holding it and, tell us what went on there.

Phil: Ah, pretty simple, I just hit the rim of my floor tom and it hurt, so… and then it’s probably not the first time, it happens every time, you know. I’m used to it.

10645213_10152717153075775_7388073654010946158_nMJ: I’ve not seen anyone hit the drums so hard since I saw Tommy Aldridge with Ozzy Osbourne!

Phil: Thank you.

Fynn: Ya. I don’t call him a drummer, he’s a destroyer!

MJ: We were talking earlier Fynn about your start to the set, and it wasn’t the first time you tell me you broke a string. Not just one but two.

Fynn: Ya two on this, the other night I had three strings, and once… I don’t know. I, well we change the strings all the time, and they were really fresh, I don’t know what’s, something’s wrong this tour with the strings. I’ve gotta check what’s going on there. I don’t know, ya it broke I think the second chord I played.

pictbooks-dannykoetter-614x409

MJ: But hey, that’s live rock and roll.

Fynn: It is, it is, you know, our saying is always a broken cable or a broken string is half of the show you know, sometimes.

MJ: Now let’s just talk a little while about your album Imaginary Horse. What is an Imaginary Horse?

Fynn: It’s a funny story. When I was a kid I had an imaginary friend, an imaginary horse called Ponpon, and that’s what the song is about. The version that’s on the album is a very short version of it. There’s a longer version, but we decided to take a little, that version a little shorter one because it just made more sense, it was much cooler to do it that way. It’s just clapping and me singing to it, and kinda get intimate, I guess that’s the right word, intimative feeling.

RidingEasylogoMJ: And the album, which is out on…?

Fynn: Our international label is RidingEasy Records, they’re in California, Los Angeles, California. And it’s licensed to Noisolution Records in Berlin for Germany, Austria, Switzerland.

MJ: Talking of things International, I hear that you picked up an American tour through your Instagram feed?

Fynn: This happens so much lately. Our first American tour we just got through Instagram, basically, because Cedric Bixler from At The Drive-in and Mars Volta, he just liked our pictures a lot, and he became a fan of the band just through the pictures. And he contacted us, he was like just the pictures look so amazing, I wanna hear something from this band. And we send him some stuff that was unreleased, it was like… two years ago now? So he got like very early recordings of our album, and he loved it so much, and he booked us like two shows in Los Angeles, and we just went there without the right visa, and it was a big fuckup, and they tried to send us back. And it was weird, they showed us private emails, it was crazy. And after these two shows, we were booked out for two months, because they were just the right people. I think Cedric must have done something, I don’t know. And ya, it was a big success.

MJ: So Phil, where are you based, because you got German heritage obviously, but are you Europe based or are you US based?

Phil: No, we are based in Europe, ya. I’m from a small town, Gütersloh in the middle of North Rhine-Westphalia, right in the belly button of Germany. We got the British air force in our hometown. So half of our hometown is Brit. So we grew up with Brits, that’s where, you know, we got our English from.

MJ: Going back to the album Imaginary Horse, it’s got a very raw and real edge to it. How did you put that album together?

Fynn: Ya well, let’s start at the beginning. My dad has a professional studio in Gütersloh where we live. It’s in the middle of nowhere, it’s like on a farm, there’s just like a forest around it. And we always hung out there and we had a practice room next door, and a motorcycle garage where we build choppers and stuff like that. And Philipp and I wrote the whole album in there and we always loved the sound. And when we went next doors in the real studio to record it, the sound just became… ya, the whole song became clean is one word, but well but not clean as in like not distorted, but normal. And we thought we wanna hear it the way we heard it in the practice room, you know, so we tried to find how we could do this. It took us a long time of course but then we found out a technique that was in our garage, we put everything out there that we could so we get more roomy sound of it, so we cut out the carpet and stuff like that, and we put two microphones twelve feet away from us and recorded everything live, and no artificial reverb on anything, this is the real reverb that was made in that room. You know, so, that was the idea.

MJ: Was the video for ‘PCH Diamond’ shot in that same garage or was that elsewhere?

Fynn: No that wasn’t in that garage; that was in Glory Motorcycles in Los Angeles. A very good friend of ours, Justin Kell, he does all the bikes for all the movies. Funny fact, he did the bike for Indiana Jones, stuff like that, and some, he does all the bikes for Tom Cruise, stuff like that. He’s the real deal but he’s a really cool dude. He skates and stuff like that, so we know him through skateboarding.

picturebooksskate

MJ: Skateboarding, that’s a big thing with you guys.

Fynn: Ya well, I grew up with my dad being a professional skateboarder since the 80s. So we always had friends from all around the world coming to us, and me coming with them to all these places where he went to contests, stuff like that. So, I guess that’s where my American accent comes from, because we’ve always been in the States a lot. And ya that was always a good thing.

And then, when he started doing music, he was super successful doing music. He had super big bands that toured the States and all over Europe. One band was called Thumb, and the other band was called All-Stars, and he had bands back then, Eight Days, that was like in all the skate videos. So he’s always been into music. So I basically grew up in skate parks, and in a tour van. Basically in a tour bus. He always brought me on tour. And ya, and then Philipp and I met, we met in this… you go…

MJ: Over to Phil.

Phil: That like ten years ago or so we just met in our local skate park, just hanging around and whatever, skated all day, and ya. That’s our skating background I think right?

Fynn: Ya well we still do, we still skate all the time and we just try to find something to do after we’ve skated, you know? We became best friends, and then we were like what do we do now? We skated till darkness, what do we do now? So first it was like go into the pub, but then it was like getting boring at some point. And then we started getting into my attic where all the equipment that my dad still had in there, because he used to have a studio in the attic. It used to be called Cloud Scrap, or wait was it called Upstairs Studio? Because it was all up there. So there was still some equipment lying around, an old Sonor drum set, and some guitars, and that’s how it all started.

MJ: And what are the, I guess you brought your boards out over here?

Both: No.

MJ: So you’re having withdrawal symptoms?!

Phil: To be honest, when you’re on tour you’re always afraid of like, when you go skate are you gonna break your bone or whatever, so… don’t do that.

maddin-drummer-claus-614x409

Fynn: Ya, the show suffered from it, you know, and that, that was like the worst case scenario because at the end of the day this is what we’re doing, you know? And skating is something that’s fun and it’s cool. That’s something I learned after being sponsored, you know? I was sponsored at one point and I lost all the fun of skateboarding because I had to be at contests and stuff like that, and I quit doing that and just do it for fun, and that’s the thing.

fynnskateclausgrabke2

Phil: We don’t want to get hurt on tour.

MJ: I wanna come to the instruments that you’re using. What have you got, what’s your setup Phil on the drums?

Phil: I’ve got a Ludwig kit, with a twenty six inch kick, a bass drum, I guess ya. An eighteen inch floor tom, and I just, how do you say, rebuilt my old drum set. I used the old bass drum kit and whatever, kick drum ya. I used the old kick drum and turned it into a floor drum, the big one on the right side, it’s a twenty four inch, and I have two snares and that’s pretty much it.

Fynn: And a bell, and the bell…

Phil: And the bell, ya of course.

the-picturebooks_vice_970x435

MJ: And any effects on that?

Phil: Ya you listened to our record right? So all the sounds you hear live are the same sounds we used in the studio, you know? It’s live recorded, and we try to, how do you say it, we try to…

Fynn: Get that sound on stage?

Phil: Get that sound on stage there, and I have that same feeling…

Fynn: Reuse, re-reuse…

Phil: We use some triggers to get the real bass from the recording in the studio, to get the real snare sound, to get the real chain, chim, chim, what is it called…percussion.

Fynn: Ya you know we, for Philipp said, all the instruments and something you hear on the album is something that Philipp and I always work out together. It’s not like it’s just him drumming, it’s not just me playing guitar, it feels like we’re both playing it. And so we built these pits, just go into the music store and buying normal, traditional tambourines and stuff like that, just bored us at one point. And it felt like, this sounds like every other shit that’s already out there. So we started building our own percussion instruments you know, because we’ve always been inspired by Native American music and all the tribal stuff, and it never sounded like something you could buy in a music store, you know? So we were really creative…

Phil: You can do that but it’s fuckin expensive to do that so…

Fynn: Ya, you can do it, it’s expensive first of all and it’s, again the easy way to do it. So we build them ourselves.

In the beginning, it was weird because it felt like cheating, and it was like it’s not the real thing but you have to hit it hard if you want to sound it big you know? The album was recorded in a motorcycle garage, and we used the actual reverb, and just recorded the entire album with two microphones. Not like everyone else would, close mic-ing it and then all these mix tricks that everyone has. Then when you wanna put it on a stage you realise a bass drum on a stage all of a sudden isn’t in a motorcycle garage anymore, so you get the typical bass drum sound, and it didn’t sound like what we had recorded. So to be able to do that we have a trigger that actually triggers the bass drum and snare sound to sound like that, that’s all.

blog_picturebooks

MJ: It’s an awesome sound. Sounds really cool. Fynn tell us about the rig that you’ve got set up.

Fynn: Ya well, um, I tried out so many guitars and, like, from no-name stuff to all the good stuff that’s out there, and I always try to get like newer guitars because it’s not like that complicated and you can get them everywhere, and some of them are really cheap. But they always sound very plastic to me, like, I just didn’t like it. So what I did was try out all the old stuff, and it started out with the old Gibson my dad had.

We were hanging out in Los Angeles while we were recording the, and still writing the album, and I bought this very old Gibson ES125, which is an old cut-away and almost looks like an acoustic guitar. I think it’s like from the early sixties, and I bought it for super cheap from this awesome guitar store in the middle of nowhere. Like it was in Los Angeles in this street called Santa Nella, and this dude, he was a great dude, he was the weirdest dude ever. It was a funny story behind it. Anyway, I bought it for super super cheap, and basically that’s the whole sound of the album is that guitar, a very very cheap preamp, and through a custom made amp I made. It’s actually a Marshall amp that I put into an old Jennings, which basically is Vox combo, ya.

pbMJ: And, you’ve got some stomp boxes as well which you tend to tinker around with to your heart’s content.

Fynn: Ya well the thing is on the album I really just use that, but you always have to re-create it for live, you know, because our set is very dynamic, and if you just use that setup it doesn’t come across like that, it always feels like one, it’s the same loudness, you know, the whole set. So I’ve got two of these preamps to get a one louder one, and one for the other guitar because it sounds a little different. And then I have a delay where I do funny stuff with, I got a fuzz to get it much more fuzzier, what else do I have… it’s a funny thing, it’s a handmade, like a handmade preamp too. It’s a booster, it’s called the Moon Booster from a company called Redson Effects. I wanna mention this because they’re… I just found out about these and they’re super good. I got that one in my set now. I got a Fender… ya he made it for me. That’s another thing, ya he made it for me, which is… I love when it’s custom made for someone’s stuff. I got a Fender reverb, it’s like a remake of a big old Fender reverb, with like a small pedal. And then I have another thing that’s like re-creating the roomy sound that I always have, that’s over everything. Ya it just has a little room sound to it.

Another thing I’d like to mention is for this album we forbid ourselves to listen to music for two years so we don’t get wrong influence, you know? Because it happens so fast today that you listen to something new, that’s like a new band, and you’re like oh wow that’s awesome, and you end up in the practice room sounding just like that. And to not have that we forbid each other to listen to music. So all we had was Katie Perry and Lady Gaga for like two years.

And then what happened is like, so the thing why we did it, we wanted to get the raw, raw’s always a good word, a raw sound out of it. Like, what’s us without the influence of other bands, just like from now on. And we got inspired by so many other stuff that has nothing to do with music, just being in the desert in California or stuff like that, you know. That’s why sounds like PCH Diamond happened. PCH is the Pacific Coast Highway that goes along the whole Pacific coast, and stuff like that. So that was a cool experience. I just wanted to say that.

TPB-Tourposter2015-web

MJ: I take it that the tour your has been going really well?

Fynn: It’s going really well, The Answer are super cool dudes, and became really close friends with them. And ya, the other band, Bad Touch too, shout out to them, ‘cos they work really hard too. So ya, it’s a cool tour.

MJ: Gentlemen, thank you very much for your time, and all the very best for the rest of the tour with The Answer.

Fynn: Well, to everybody that doesn’t know us yet here in the UK, everybody that knows us and hasn’t seen us, would be rad, we’re coming back for sure on our own tour in May!

Go visit…Like/Follow www.thepicturebooks.com Facebook Twitter IG YouTube

Cheers

MJx

Website: www.TheClassicRockShow.co.uk
Twitter: @ClassicRockShow
Facebook Group: www.facebook.com/groups/theclassicrockshow

 

INTERVIEW: Bad Touch discuss their debut album ‘Half Way Home’

A Norfolk five-piece who are turning heads and going places in the industry, Bad Touch blend together elements of classic, 80’s rock with blues licks to create a powerhouse of melodic rock. Listing Led Zeppelin, Black Crowes and Rival Sons amongst their influences, they are a band who love to turn up the volume, but also infuse their songs with subtlety and melody.

It bodes well for new album ‘Halfway Home’, due out at the end of April, and we got a taste of their style when we played their lead single ‘Wise Water’ on the show last week

https://soundcloud.com/bad-touch-demo/wise-water-1/s-h6g57

The album has been a long time coming for Bad Touch as it’s been 5 years since their inception. Having started with cover songs, their set has evolved into their own material. Which they have taken the time to hone and mould into their own style. Patiently working on their own material before launching into a debut album, the result is truly impressive.

Bad Touch are currently supporting The Answer on their UK tour and prior to them taking the stage at Chinnery’s, Southend-On-Sea, last week, I sat down with all five members of the band and began by asking about the length of time it’s taken them to release their debut album.

btouchMJ: ‘Half Way Home’ is your debut album. It’s been a long time coming. We played the lead single ‘Wise Water’ on the show last week and I can tell you that it went down really well with the listeners.

Stevie: I’m glad that you say your listeners like Wise Water. Yes, it has been a long time coming. Well, it was just that we all wanted to make sure that, when we got this album out, we wanted to do it right. So, you know, we wanted to make sure that people wanted it. We’d done a few UK tours, and we got our name out there. So, we thought, let’s do the album because people want it.

MJ: There’s a lot of people that have seen you fellas play. They like your music and we get requests to play Bad Touch. Seeks, how’s that sound to you with the reaction that you’re getting from the album?

Seeks: It’s lovely. It’s great that people are asking for us to play our own music. It’s fantastic. I mean I don’t know how anyone else would feel about it, but just for people wanting our music being played is the whole point we do it, you know?

MJ: Let me turn to Bailey. What is it you’re enjoying most about this album?

Bailey: I’m loving it. We spent ages writing it, recording it. And it’s now actually out there for people to listen to. That’s nice to actually hear them say that they’re enjoying it as well.

IMG_3459MJ: George, tell us about the songwriting on this album. Have you all taken a share of responsibilities?

George: We sort of write each song in a different way. Like on some of them one person might have written 90% of it, but other songs you might just get a guitar riff and then we all sort of collaborated together. But, in general, it’s hugely more or less one person has the germ idea, and then we all take it away, and then we all write our own parts to it. And lyrics can be done in one night or one year, you know?

Stevie: That’s one of the things I love about being in Bad Touch the best is getting everyone else’s ideas and going, “Wow. That sounds awesome. I’d have never have thought of that.”

MJ: Rob, you’re obviously testing out the new songs on this tour?

Rob: On the set at the moment is all the new stuff from the album. There’s no sort of old tracks from the old EP. But, we’ve got a couple more experimental tracks on the album where we sort of do our thing where it goes on for a little while. They’re blues-y, slower. So, we try to keep it more upbeat with the set that we’re doing. But, obviously, we’ve got half an hour set, so we sort of want to get on there, do our thing, and then come off. So, it’s going well at the moment. The Answer guys, they sort of pick the particular tracks they like, and they’ve been really cool about it. So, it’s all going well.

MJ: And the feedback, Stevie, on this tour with The Answer has been really positive.

Stevie: Yeah. It’s lovely to have all these people saying how much they’re enjoying it, both the album and the live performances and stuff like that. I mean, but we take criticism where criticism is due just like we take credit. We’re quite aware that we’re not breaking any sort of boundaries with regards to musical experimentation. We’re quite happy doing what we do and it being feel good, rock music, you know? I think too many times people are caught up in it and the brains behind it and think, “Oh, we’ve got to be new. We’ve got to…” It’s like, if it sounds good and you enjoy playing it, then that’s all that matters. And, if people enjoy it, then even better, you know?

badtMJ: You seem to have found your feet with this album.

Stevie: Oh, that’s very kind of you. No, we definitely wanted to make sure that you say that. The thing with this album, which I’m most happy is that it sounds like us. If you came to see us and bought the album, you wouldn’t get the album home and go, “This doesn’t sound like them.” It captures us or what it is to be Bad Touch, you know?

George: In the album, we’ve tried things on the album that is different, but that’s the whole point of an album. But, it’s not like we’ve gone synthesizers, and electric drum kits, and things. It’s basically a five-piece rock band doing what they do, you know? And we did everything on the album.

MJ: Well, we’re going to leave it here because you’re off to sound check. Thanks so much for chatting with us on The Classic Rock Show. Last few words from you guys for the fans out there?

Seeks: A big thank you everyone and to your listeners for the support.

Rob: Yeah. Thanks a lot everyone. You’ve been great.

George: Yeah. Keep coming to the gigs and keep rocking!

Bailey: If you haven’t heard the album yet, we hope you enjoy it.

Stevie: Just want to say thanks for listening and, even more so, thanks for wanting us. And thanks too to The Classic Rock Show for putting us up.

Bad Touch on Facebook, Twitter, YouTubeInstagram and www.badtouchrocks.co.uk

Cheers

MJx

Website: www.TheClassicRockShow.co.uk
Twitter: @ClassicRockShow
Facebook Group: www.facebook.com/groups/theclassicrockshow

INTERVIEW: “Oh-Hell-YeeHaw!” WhiskeyDick are coming to the UK!

Cult favourites WhiskeyDick return to the UK this March to blow minds with a double barrel blast of dreadnaught shredding and hillbilly bellowing that makes you want to knock back a shot, stand up tall, and holler “Oh-Hell-YeeHaw!”

The Fort Worth duo carry on the Texas traditions of super-powered guitar slinging and clever songwriting that make lone star music a worldwide curiosity, except Reverend Johnson will remind you more of Dimebag Darrell than Billy Gibbons and Fritz remains more lyrically akin to David Allen Coe than Robert Earl Keen.

WhiskeyDick’s live show is a true spectacle: two giant, tattooed, mean-looking dudes saunter on stage and sit down on 2 chairs, then pick up acoustic guitars and proceed to amaze everyone by generating more power than a full band by means of Fritz’s deep, rich vocals, Johnson’s unapproachable acoustic guitar heroics, and their triumphant songwriting.

It’s their approach to music and the message they carry that’s resonating with the legion of Dimebag Darrell’s fans and viewers of hit tv show ‘Sons Of Anarchy’ which has resulted in the duo’s song ‘Drunk As Hell’ fast approaching 1 MILLION views on Youtube.

WhiskeyDick release their best of album ‘Welcome To YeeHaw County’ 24th April 2015 via record label Rusty Knuckles. We spoke to Fritz ahead of their forthcoming UK Tour.

UU_event_75b0eef15be84464994c556186bb7116

MJ: Welcome to the Classic Rock Show, Fritz. How on earth does a name like WhiskeyDick come about, firstly?

300x300F: Thank you. Man, I appreciate it. Yeah the band name. Well, we kind of did some drinking a couple of nights in a row and we were playing some shows and didn’t really have a band name, this was about ten years ago, a little more than ten years ago, actually, and after one night of the heavy drunken debauchery, we had a couple of names floating around in our heads and we knew we liked whiskey, and we were on our way to a show, actually, and I was sitting in the back seat of the vehicle and it just kind of hit me and I blurted it out real loud as we were going down the road. And actually Reverend Johnson (Whiskeydisck’s lead guitarist) wasn’t really happy, didn’t really like the name right off the bat, but kind of stuck after a couple of minutes and then kind of I called the venue right then and said we’re coming, we’re ready to play, and we’re Whiskey Dick and it just kind of stuck. And here we are ten years later with the same band name.

MJ: We’re talking via Skype and I can’t help noticing a poster behind you of the big man himself Hank Williams. I guess you are a big fan of Hank and of country music in general. I dare say there’s a Doc Watson photo or poster somewhere in the Fritz household.

F:  Yeah, there is one out in the studio somewhere. This is a gift. I am a huge fan of the [Hank Williams] Senior and we come from metal roots but we always loved our Country [music] that we’ve grown up with and it’s kind of a way of life around here, where we’re from, so kind of born and bred into it.

10250038_855339887864339_3721610910997277075_nMJ: How much of those guys influence you?

F: I tell you, I’m very heavily influenced in the old country stuff, Hank Williams and Waylon Jennings, and I think a lot of it comes from growing up and listening to the music on old vinyl records. Wasn’t just the old country, but it was Allman Brothers and Bob Dylan and a whole slew of amazing artists growing up. And I think that my vocal range was more in that register, you know, with the way I have a very low twang, I guess, I think I mumble, [laughs] but the old sound and kind of really honed in on that. So I try to surround myself with all of the music that I’ve been influenced by my whole life. My writing style and all that stuff and taking shape and mould it into my own. But there’s always a little piece of Hank Senior in my head and Waylon Jennings floating around there too. Heavily influenced by those guys and the way they lived, they lived their music. So that’s what me and Reverend do. We live every minute of it. So, the night I spoke it and it kind of goes hand in hand.

MJ: You share song writing duties?

F: Yeah. The way we write, you know, we take life experiences that we’ve lived through, you know, and take them and sometimes alter them a little bit so they don’t sound so drab or anything. But you know, things that we’ve lived through and come out alive still, are amazing, some of the stuff that we’ve gone through and try to take some of that and use it to our advantage and our music. And I think that’s another reason why when we play live it’s more of an emotional thing for us because we’re really tapping into some stuff that we’ve been through all together and being apart and being together we’ve gone through a lot of stuff. And to me, real good soul music, music from the soul, is good for the soul. And we try to incorporate that as much as we can in our music. Because I mean it’s all we do. We live it and then we write about it. You know? That’s the way they did it back in the old days.

MJ: “Drunk as Hell” written some few years ago now, has really came to prominence on the back of having been on the soundtrack to “Sons of Anarchy” episode. For a two-piece band to get a song on a mainstream TV show, tell us about how you felt the reaction yourselves?

F: You know, it’s still kind of shocking. Just for them to even contact us and want to use our music was mind-blowing to us! We’re just two dudes and you know for someone, for anybody, for that matter, to take something that we’ve written from in here in our souls and our hearts and actually like it enough to want to use it for a show was, we were floored by that, you know. We’ve always been a two-piece and so it’s just the two of us and kind of look at each other like, wow! [laughs] I don’t think some of it has even set in all the way yet, you know, all together, how far we’ve come and just doing it with hard work and lots of hard work and sticking with it. And fighting through whatever it is that comes our way and got to overcome all of that stuff. So I think as a two-piece we’ve been able to do that pretty successfully.

yeehawcountyfrontgoodMJ: You guys have been together for not far short of 10 years. Five studio albums and a live album as well, you can rattle through quite a number of tracks, what can the audience look forward to?

F: We try to mix it up and do a little bit off of every album. We’re doing a lot of songs, like I think four songs and five songs in our set from our Drunk as Hell album which is our third release that we released in 2010 and “Drunk as Hell” is actually the title track of the album. So, that one we always try to incorporate in our set just because it’s fun to play and the people seem to really like it and relate to it. We have a couple new songs off of the Devil’s Boots album that we’ve really been playing live a lot, “Yee-Haw” is one of them and it’s another acoustic metal kind of feel to it, over here in the States we call it like a Southern Metal groove kind of song. There are some songs from our Wicked Roots album which is our fourth release that we released in 2012 and that was more of an acoustic-driven song. There’s no distortion or anything on that whole album. “Murder Love Song” is one, “Mountain Town,” from the First Class White Trash album. And we do “Train Riding and Gun Totin’” [laughs] and that one is always good because it gets everyone moving and wanting to drink some beers with us. So we try to mix it up a little bit. This tour we have got a compilation album that we’re putting out called ‘Welcome To YeeHaw County’, only released over in the UK and it’s 13 songs and I believe we’ve got at least 3 songs from each album. So we’ve been playing a lot of those songs, too. We’ve got some old songs that we’re going to pull out that we haven’t played even in the States in a while and as we realised the other day, as of right now we’ve got 74 original songs so we’re trying to weed through them all and pick out the ones that we really want to focus on and play them to the best of our abilities.

MJ: You were over here in August/September last year [2014]. What are you looking forward to most when you come back to the UK?

WDUKTOURPOSTERF: We’re really looking forward to getting back over there and playing some music and meeting the people and having a good time. It’s what it’s really all about, you know? We’ve had a boost of fans from our last tour online and stuff and a bunch of them are planning to come out to a lot of the shows and we’re just really looking forward to meeting the people and playing and putting on a good show for them and really kind of putting our foot down and saying here we are, we hope you like us, and let’s have a beer. That’s the goal of ours, to frequent over there and tour over there as much as we can. It’s a new area and we’ve been touring the States here for almost the last five years pretty much non-stop. And it’s a whole other world over there. The first time we went over we absolutely fell in love with everything about it. So we’re really looking forward to getting back over there and putting on some good shows and having a good time with everybody and raise a little hell.

MJ: Great to finally hook up with you Fritz. Good luck with the UK Tour and the compilation album

F: Yeah, I believe we’re playing, we haven’t really set everything in stone yet but we’re already trying to come back in the fall.

F: Just want to thank you for having me on and really, really appreciate it and we’re looking forward to getting over there and playing some good ole southern acoustic metal/country hillbilly yee-haw music. We are going to have a lot of new merchandise with us on this tour. Some hats, some shirts coming with us and some of the new compilation album which we’re really happy about. Just looking forward to getting over there and doing out thing, man. And like I said I really appreciate you having me on, MJ.

WhiskeyDick release their best of album ‘Welcome To YeeHaw County’ 24th April 2015 via record label Rusty Knuckles.
yeehawentertainmentinc
WhiskeyDick March 2015 Tour Dates:
Thu 19th – LONDON – The Big Red
Fri 20th – PETERBOROUGH – Iron Horse Ranch House
Sun 22nd – SHEFFIELD – South Sea
Mon 23rd – LIVERPOOL – Caledonia
Tue 24th – DARLINGTON – The Quakehouse
Wed 25th – EDINBURGH – Bannermans
Thu 26th – BRISTOL – Maverick Studios
Fri 27th – CARDIFF – The Moon Club
Sat 28th – BOURNEMOUTH – The Anvil
Fritz and Johnson return to the UK in May 2015:
Sat 2nd – OXFORD – The Wheatsheaf
Sun 3rd – MILTON KEYNES – Craufurd Arms
Hit ‘em up!

INTERVIEW: The sound and philosophy behind Venrez ‘Children Of The Drones’ + March UK Tour news

logo2
Los Angeles hard rockers Venrez caused a buzz with their 2013 album release, ‘American Illusion’ which saw the band tour across the USA and UK/Europe with Slash, Alice Cooper and Buckcherry.
They’re now set to go over the top with their forthcoming new album ‘Children of the Drones’ and new music video ‘Hang The Predator’, Directed by Christopher Coppola (nephew to ‘The Godfather Trilogy’ Director Francis Ford Coppola) the new video and song serve as the perfect taster for Venrez’s forthcoming album.
I managed to catch up with Venrez singer/songwriter/frontman Ven before he, together the rest of the band, flew out to begin their UK tour.
Jason Womack [L] and Ven [R]

Jason Womack [L] and Ven [R]

MJ: I’ve been listening to the new Venrez album Children of the Drones [set for release on 24th April 2015 via Monarch Music Group] and it’s got quite a feel to it. Take us through how the album came about? V: This is our third album and there were some unique differences with it that I’ll get to, but I think that the biggest difference as far as being a great natural progression forward is that the lyrics are still dark that I’m writing, the melodies are still there, it’s heavy but we’ve added more of a psychedelic sound. On the first album, Soul Alive, the outro track, “My Only Light” had a kind of Pink Floyd-y feel of psychedelicness to it. We did it again with “Temptress of the Moon” the outgoing track on the last album, American Illusion. And we just kind of sprinkled a little of psychedelicness into the heavy kind of 90s groove that we had for Children of the Drones. And I think finally stamped a signature on the Venrez sound with this album.

venrez_drones_cover517x518

MJ: What does Children Of The Drones mean?

V: Well, my wife and I actually turned vegan a year ago, after watching some different videos and the cruelty to animal factory farming. And then you know just what’s going on in society and how important bees are to the ecosystem and things of that particular nature so I wanted to write a song about it. And Children of the Drones talks about it: “Concrete for the trees as they poison the bees”. And you know there’s a message and we put it on the album cover and besides those messages, the biggest message is, on the album cover the drones have a barcode on the back of their heads and there’s talk of us all having chips in our bodies at some point. I look at it like stepping out of that line. If you’re looking at the album cover you’re in line with the drones heading to the pyramid. So the message is step out of the line, be independent, think for yourself and don’t be controlled. And you know, that’s the song that I take a shot at corporations and government on every record. On this record it’s “Children of the Drones.” I think the world is the most dangerous world it’s been since World War II. And if there’s ever been a time for the younger generations of people around the world to step up I think now is the time to be doing it. And you know I could cheapen up the lyrics, we could go real poppy and crack into corporate suit control pop radio and pop rock, you know, but I haven’t sold out and it’s taken us a long path going into our 6th year now to really start getting somewhere but I’m proud of it because we’ve stuck to our guns, we haven’t sold out, we continue to write songs that we feel teach lesson and deliver messages that need to be delivered and I’m just not going to stop doing it.

MJ: Accompanying your lead single “Hang the Predator” is a video directed by Christopher Coppola, Francis Ford Coppola’s nephew. How did that collaboration come about?

V: I might add that his brother is the famous actor Nicholas Cage. It’s really kind of a funny thing. US actor comedian, Andy Dick, is a very good friend of mine and he wanted me on the Andy Dick Live show. He flew out to Ohio to see us open for Alice Cooper back in 2012 at the France Pavilion in Dayton. He wanted me on the show to promote Venrez and the producers had wanted to book Chris Coppola, the comedian but by accident they booked Christopher Coppola, the director. And so he was on the show with me and we just instantly hit it off like we were past life samurai warriors or something together. And we became best friends. So when it came to wanting to start getting some good videos directed, I asked Christopher to direct them. And I think he just did a great job with this new video, “Hang the Predator.”

MJ: It’s got quite a dramatic beginning, with ants attacking a scorpion. Can you explain that metaphor?

V: “Hang the Predator” is my shot at corporate greed and government control. So the predator is who tries to control us and take our freedom back. And so that is my biggest shot at it. With what is going on in the world with North Korea and even our country with police brutality, I’ve seen plenty of craziness going on in the UK, you know the issues in Syria and Iraq and with ISIS…these monsters we’ve created we now have to deal with. Ee need to step up and do something to change the world for the positive. I really do think that we’re facing some serious dangers throughout the world based on human kind being out of control in an aggressive manner.

MJ: There’s an interesting story, is there not, behind the lyrics to “Hang the Predator” because by all accounts these were quite old lyrics that you had sent to your guitarist Jason Womack and he found them one day?

V: [Laughs] Yeah, they were. The way I work is I write lyrics and send them to Jason he puts music to them and sings the demo and then we work it out with the band. The other way is he sends me music and I write lyrics to the music. Now, what happens is I’m usually writing in my studio office at my house , I immediately email to him and save it to a file. But sometimes we’re on the road and when we’re on the road and I’m writing I use my iPhone and what I usually do is copy, paste, email it to him and save it. For some reason with “Hang the Predator” it was the one out of a few hundred songs that I forgot to do it with. And as we were about to record this record Jason had an old phone, cause I wrote the song probably two and a half years ago, and before he was going to dispose of the phone he booted it up just to make sure there was nothing on the phone that he wanted to make sure he saved. And there were the lyrics! He sent them to me and of course I had never saved them and it is pretty funny and ironic that it ended up being the single to the new album. A lot of times we’ll be jamming and sometimes we’ll record it and sometimes we don’t. Usually every time you’re not recording, you come up with something great and say I bet you can’t remember, and you say ah we gave that one to the gods. Well we tried to give this one to the gods but the gods gave it back! [Laughs]

MJ: Is it fair to say that Venrez have now found their sound with this album?

V: Yeah, I think so. I think so. We have four records now, but what happened when I formed the band in 2009 we had a very different lineup and it was another guy on guitar who was writing the lyrics and the sound and it became evident to me that we weren’t going to go anywhere unless I started writing my own songs. So, we had a change around and Jason stayed and we made an agreement to work together. Then I brought in the guys who had toured with us up until now, Alex Cane and Michael Bradford on bass, and Ed Davis on drums, who were not in the band at that time. And we went on a hodge podge of writing at the time called Witch’s Brew, which is a lot of different types of songs and sounds. And then we started trying to tailor it from Sell The Lie to American Illusion and so it’s been a four album process. I say this is our third record because the first one, Witch’s Brew, was just a different band and sounds and songs that are good but not really where Venrez was going. So I think with Children of the Drones, it’s evolved. In other words, Sell The Lie was the baby, American Illusion was the teenager, and Children of the Drones is the full-on adult and we’re now 28 years old and for the next 10 or 15 years we’re going to give you a whole lot more of that kind of stuff.

Ven and The Coop

Ven and The Coop

MJ: You’re going to be opening a UK tour on the second of March down at the Windmill in London. It’s not your first foray into the UK, but this is your first headline tour.

V: This is our first headline tour anywhere in the world! And you know, there’s a few really nice club venues we’re heading to. Some of them are pubs and bars, you’ve got to start somewhere. We’ve been playing arenas and huge venues with bands like Slash, Alice Cooper, the last tour of Europe with Buckcherry, we were at Koko’s in London. The thing about going back to a smaller club tour it is so intimate, we do have a lot of fans in the UK, we’ve been there four or five times on tour, and I’m really looking forward to showcasing the band in a smaller, intimate venue-type situation and I look forward to it being very successful. We’re very excited about it. We leave in two days. It’s Wednesday here today and we’ll leave Friday and land in London Saturday, the 28th February and that we’ll start on the 2nd March in London and end up at Bathgate, Scotland on the 12th.

MJ: What are we going to be hearing?

V: You’re going to get the full-on Venrez show! And you’re going to get a good smattering of five songs off the new record and then some of our fan favorites, from Sell The Lie and American Illusion. Some songs we haven’t play in 2-3 years live, and I think Jason put together a brilliant set. It just rocks from the first to the last song and it’s going to give fans a nice mixture of the current album and the last two records.

MJ: Ven, thanks for chatting with The Classic Rock Show.

V: You’re welcome. I’m really looking forward to coming back to the UK. I just want to thank all of our fans for supporting rock and roll. I think a lot of artists forget they wouldn’t have a career and wouldn’t be able to enjoy what they do without the fans. The first thing I always want to do is thank the fans for supporting rock music. Without you, there is no rock and roll!

‘Hang The Predator’ is now available on iTunes. ‘Children Of The Drones’ is released 24th April 2015 via Monarch Music Group.
Venrez UK Tour March 2015:
2nd – LONDON – The Windmill
3rd – SWANSEA – The Scene
4th – NOTTINGHAM – Old Salutation Inn
5th – BIRMINGHAM – The Asylum 2
6th – BOLTON – Railway Venue
7th – MANCHESTER – Bangkok Bar
9th – GLASGOW – Audio
11th – INVERNESS – Mad Hatters/Hootananny
12th – BATHGATE – Dreadnought Rock
Venrez are:
Ven – Lead vocals
Jason Womack – Guitars/backing vocals
Nico D’Arnese – Bass
Ed Davis – Drums
Hit ‘em up!

INTERVIEW: Crobot’s singer Brandon Yeagley talks to The Classic Rock Show

CrobotLogo_solid1

Since the release of their debut album ‘Something Supernatural’, US retro-rockers Crobot, hailing from Pottsville, Pennsylvania, have been steadily winning over gig-going rock fans; struck by their energy and the super solid rhythm section of Jake Figueroa on Bass and Paul Figueroa on Drums, trick-heavy riffmaster Chris Bishop on guitar and dynamic singer Brandon Yeagley who’s not only a great vocalist, but a very switched on frontman.

Crobot stepped in front of UK audiences for the first time last year when they came over to support the Virginmarys. Such was the feedback that they were soon booked to support for the current Black Label Society tour along with Black Tusk (interview with James May here).

Crobot

Before they took to the Norwich UEA stage (18/3/2015), I met up with Brandon for a quick chat:

MJ: Welcome to The Classic Rock Show. You’re here on tour with Black Label Society and Black Tusk. You had a day off yesterday, what did you fellas get up to?

Brandone Yeagly CrobotBY: We just walked around Leeds and eventually ended up crawling through a few pubs. And making our way back to the  hotel. It was a nice day. We just walked around, checked out some really cool buildings and the local market. Really reminded me of back home, we have a similar market. Market stalls everywhere, people selling everything from meat to fly-swatters and everything in between. So it was really cool to see.

MJ: What do you think of the beer over here compared to what you’re used to over in the USA.

BY: I’m not much of a beer guy. Bishop tho’, he’s into the beers.

At this point Bishop looks up from his warm-up guitar exercises…

CB: Little weaker, a little bit weaker, but you still find some Hoegarten’s and stuff like that. These things are very high quality, I have to say.

BY: I guess that was our fifth day in a row, so it was nice to recharge the batteries a little bit and get some z’s in there.

Photo credit: Joe Winn

MJ: What’s in store for the guys and girls turning up tonight?

BY: It’s going to be sweaty. It’s going to be dirty. Going to be riffy. Actually don’t know what the set looks like yet, so I’ll be surprised as well to see what goes on the set list.

Something-Supernatural-CrobotMJ: You have been allocated a 30 minute set…how easy is it to keep a set sounding fresh?

BY: Not too bad at all, it’s more like oh man we only have thirty minutes. “What do we cut?” We’ve got a pretty strong set though, regardless of how many we can fit in there.

MJ: I guess you’re really pushing Something Supernatural?

BY: We have some new songs floating around in there in the rotation. In a few months we’ll be releasing a deluxe version of the album which will include some tracks that didn’t make the album. One that actually is a new song all together, a live version of it, and we might start throwing some of those songs in the set.  Maybe tonight we’ll throw a curveball.

MJ: How have the UK audiences been so far for you?

BLS_Black_Tusk_tourBY: It’s been great being out with Black Label Society. First off, we heard that we got the tour and we’re just ecstatic about it. They’re huge over here and they haven’t been over in a while so we knew that their fans would be out in numbers to see them. It’s cool to see so many of their fans coming out early and checking us out as well. So, the reaction has been pretty positive thus far, from the start to finish. We see more heads bobbing as the night goes on, so that’s always good to see.

MJ: A USA/Canada tour next with Volbeat? That’s quite a matchup, Crobot and Volbeat. And, of course, not forgetting you’ve Anthrax on the bill too.

BY: Yeah, Anthrax is also on the bill, that’s right. Going to be a huge tour for us. It’s a big year, from this tour with BLS to that tour is going to be a crazy year. Volbeat are huge in the states and to be picked to play with those guys and Anthrax is really an honour. The return of that legendary band is something we’re really excited about as well.

MJ: You’ve got to get back to the UK a little later on in the year, surely?

BC: Hopefully, hopefully. We have our fingers crossed for festival season that we can make a run happen.

MJ: You’re taking in quite a few countries across mainland Europe. That’s going to be quite an experience. And of course a different vibe with the crowd, as well. I think is fair to say, the audiences here have loved you and really gotten into you and from the feedback I’ve been getting, I think they are really going to stick with you.

BC: That would really be cool. You know, we’d love any excuse to come back over, really.

MJ: We’re going to leave you fellas to it, to unwind a little bit. Thanks ever so much for chatting with us, Brandon, on The Classic Rock Show. Good luck with that and the rest of the tour. We’ll look forward to seeing you a little later on in the year.

BC: Thanks, we appreciate it.

Later that evening, Crobot went on to entertain the Norwich crowd with a thoroughly engaging set.

Check ‘em out: Crobot Official Website, Twitter, Facebook, Instagram.

Website: www.TheClassicRockShow.co.uk
Twitter: @ClassicRockShow
Facebook Group: www.facebook.com/groups/theclassicrockshow

 

INTERVIEW: James May (Black Tusk) on Athon, BLS tour and new album ‘Pillars Of Ash’

810466_logoFor the current Black label Society European Tour (2015) , Zakk Wylde has brought along with him two bands with uniquely different sounds – Black Tusk and Crobot.

869ab2221cFor Black Tusk, this tour comes hard on the heels of a tragic loss. Their bassist, Jonathan Athon, died in November last year as a consequence of injuries sustained in a motorcycle accident in their hometown of Savannah, Georgia.

The swamp metal trio had not long finished recording a new album (‘Pillars Of Ash’ is set for release mid-2015 through Relapse Records). Corey Barhorst (ex-Kylesa) has the unenviable task of picking up the reins left by Athon’s passing. A formidably powerful bass player in his own right, Barhorst’s long-standing friendship with the remaining members will hopefully serve him well.

I caught up with drummer/singer and founding member of Black Tusk, James May at their recent appearance at Norwich UEA (18/2/2015). It’s never easy to talk with someone on the subject of lost a friend or brother, but I was struck by James’ outlook and positivity, whilst still coming to terms with Athon’s loss.

BLS_Black_Tusk_tourMJ: Welcome to the Classic Rock Show, James.

JM: Thank you.

MJ: Black Tusk on tour with Black Label Society and Crobot along as well. How’s the tour been going so far?

JM: It’s been good. We started off in Budapest and we played five shows before we got on this tour. And then, since we got on this tour, Black Label kind of has a different crowd than what we’re used to. At first you’re a little “How’s it going to be taken?”, but it’s been taken very well. So the tour has ended up being great for us. The crew is really nice to us, everyone one is cool with it, so there’s no problems at all. We like it, man.

MJ: Sorry to bring this up, but it’s been a difficult time for you of late. I guess there’s no such thing as great timing in any of these events. Especially on the eve of a tour such as this one. You lost a very dear beloved band member.

JM: A brother, more than anything.

MJ: Tell us about how you’ve been coping with it.

James May - Black TuskJM: Your own ways you get through it. Like I said, it wasn’t like a band member. Black Tusk was like a three-headed monster. You know what I mean? It’s been just us since the beginning. We’ve all known each other since we’ve been younger and when the band started. So it’s not even three guys that hooked up three years ago. It was before that. I’ve known Athon, knew him more than I had not known him at that point. You know what I mean? So, it was horrible. But we had to do what was good for the band. Me and Andrew both said, like, if it was me, I would want you guys to keep going. You know? Just things happen. There’s nothing you can do about it. And the band, to stop because of it, no, I mean we did think about it of course. We were thinking how could we even replace him? It’s always been us. And it would have always been us. But, on a lighter note, we’ve got Cory now. He’s great. Thankfully for him, he can come tour with us and he was interested in doing it and looking like he is going to end up working out for the full time for the future. But we have known him a long time, as well. Like since before, since before the band started, when he was coming to see our older bands play. So he’s always been around. It was a lot easier to have someone we already knew and that was around, than have someone come in that was just going to try out for Black Tusk. You know what I mean? You know, no one ever wants something like that to happen. We dealt with it the best way we could.

MJ: It’s got to be different.

JM: It’s different. We’re still getting used to it. The first night was really weird. The first, in Budapest, it was the first time we had ever played together in front of a live crowd as this new setup of Black Tusk. But, at least the crowd was so good to us that they made it really easy for us. They were going nuts and everything. They made it really easy for us to have our first show. So shout out to them for that.

MJ: You’ve a few more dates in the UK, then you head over for an extensive tour of mainland Europe. That’s a lot of contact with a lot of fans out there, different crowd as well for you and the boys in Black Tusk to perform in front of. What is it you look forward to most on tours like these?

JM: The reason to take a tour like this is so you don’t keep playing to the same niche of people. Your band is never going to grow when, you know when we first started, it’s safe to play in front of like metal punks. Because you know they’re going to like it. And after a while, you hit a ceiling, it’s only going to get so big, you’ve got to go on tour with another band that has a different crowd and win them over and that’s what we’ve done the past six years is just go on tour with bigger bands and try to get some of their crowd, too, because that’s how you build this thing to get bigger and bigger. The first four years you spend around in shitholes playing to people that you know. I don’t have any problem with them. They make sense. As long as the people are cool that are on the tour, the actual bands and crew and everything that makes it so much easier.

BlackTusk-1

MJ: Music wise for Black Tusk, it goes without saying that it’s been a challenge rehearsal-wise and prepping a setlist?

JM: We were kind of freaking out a little bit in getting this stuff together before this tour. And also, you know, no one wanted to go to that space. We didn’t want to play. But we had to. We had to get the stuff together for the tour. But me and Andrew were like dreading going to the practice space again. It didn’t feel right, without Athon there, so, but we pulled through it. We got it done.

MJ: Where is the main body of music coming on? Off of your last album? Tell us about that.

JM: It’s pretty much, we’re starting the set with some Taste The Sin stuff, then we have this new 7″ out, Vulture’s Eye, that would be new to anyone over here. It’s a few months old. And we do those two songs from that. Because our band is the type of band where we always do an album and then something in the middle, a seven-inch or an EP until we get another album. We just have always done that. So, we do that, then we go into Set The Dial stuff, and then we go into Tend No Wounds stuff, and then there are a couple of new songs thrown into that that are going to be on the new album coming out in the end of summer.

MJ: You’ve recorded a new album with Joel Grind (from Toxic Holocaust) at the controls. The album’s completed?

JM: Man, that album is done. Mastered, everything. And I am so glad that Athon got through that album with us. I mean it’s all him on there, no one had to come in and finish it for him. That is the old Black Tusk on that album. And we are stoked about it. If you like Black Tusk, you will like this album. It’s not like the last EP. The last EP was experimental. We kind of did some different stuff on that, that’s why we didn’t make it an album. We just wanted to do some other stuff that we usually don’t do. We weren’t going to make that the official album. This is the new album. You know what I mean? It sounds great. We did it with Joel and Brad Boatright (from Ashes Rise) mixed it. It sounds really big and it’s called Pillars Of Ash. That’s the name of the album.

MJ: Some serious EQ then?.

JM: Yeah, it’s ‘Boom! Boom! Boom!’ you know? John Baizley’s going to do the artwork cause it’s, you know, whenever it is a full length release he does the artwork. I got to use the Paul Burdette’s (from Tragedy) drum set for it, so the drums are amazing and we’re excited about it. The only thing about it is by the time it comes out we’ll have had it for eight months. So those are the old songs to us by the time they start getting played.

1307467MJ: So, John Baizley’s back to do your album art? He’s been doing that now for some time, right?

JM: Yeah, and he’s going to, he’s taking his time with it because this album is also going to be a tribute album. You know what I mean? So we’re making sure that this is going to be done right. He wants all the layout to look really impressive and really good, so that’s why we’re just waiting to put it out. We’re not going to push it. It would be nice to have it for this tour, but it can wait as long as it gets done right. You know? We’re going to be playing a bunch of festivals over here so we’ll have it with us when we come back.

MJ: Well, James, Black Tusk, thank you for affording ‘The Classic Rock Show’ your time. Best of luck with the rest of this tour and we hope to see you again soon.

JM: Thanks man. It’s been a pleasure.

This was arguably one of the most difficult interviews I’ve ever done. Not, I hasten to add, because of the artist…far from it…James is a really straight up guy, but because of the subject we spoke of first; the tragic death of their band mate Athon. I hope that the deep sense of loss for a ‘Brother’ transcribes fully onto the page. The band is still grieving, yet they have somehow managed not to let that get in the way when playing ‘live’. Judging by the Norwich UEA set they played, Black Tusk are well worth checking out if you haven’t seen them before. I can’t wait to get my hands on the new album.

MJx

Go get some Black Tusk: Black Tusk Official Website, Facebook, Twitter, Instagram.

Website: www.TheClassicRockShow.co.uk
Twitter: @ClassicRockShow
Facebook Group: www.facebook.com/groups/theclassicrockshow

AUDIO INTERVIEW: Danny Bowes and Luke Morley on the making of ‘Wonder Days’

thunder-wonderdaysThunder are to release their latest album ‘Wonder Days’ through earMUSIC on February 16th (UK/EU). Fans have had quite a wait for anything new to come out of the Thunder camp, but the wait was worth it. Judging by the reaction our listeners gave when they heard the single ‘Wonder Days’, it’s clear to anyone with a pulse that they are back with a belter of an album.

Recorded at the infamous Rockfield Studios, from start to finish, the songs on the album seem to have this ability to form an instant bond with the listener, grabbing your attention right from the opening riff, through to the dying notes. It’s this rare gift that has served them well, ever since the day they recorded as a band and in Luke Morley, us Brits have a songwriter we can be rightly proud of.

1423648496mzdI sat down with Danny Bowes and Luke Morley at a studio in London to ask how ‘Wonder Days’ was put together. Always willing to fully answer any questions thrown at them, we began by asking after Ben Matthews’ health. Listening to their answers, you immediately sense that their ambition is as strong as ever it was and that they are proud, rightly so, of the way they have adapted to the new approach to recording an album and what they’ve achieved in the studio with ‘Wonder Days’.

INTERVIEW: Danny Bowes and Luke Morley of Thunder on the new album 'Wonder Days' by Classicrockshow on Mixcloud

There are very few rock bands out there, less than a handful in my experience, that can ignite such a positive reaction from listeners when played on ‘The Classic Rock Show’ as Thunder can…and I’d put them at the top of that list. ‘Wonder Days’ will only ensure they stay there for a long time to come.

thunder_728x90

10974271_10205462304024229_8031492333728492368_oReach out to Thunder via Facebook, Twitter and their Official Website…grab a copy of ‘Wonder Days’ while you’re there. MJx

Website: www.TheClassicRockShow.co.uk
Twitter: @ClassicRockShow
Facebook Group: www.facebook.com/groups/theclassicrockshow