THE FORGOTTEN – The Forgotten


Sprightly US street punk
San Jose street punks the Forgotten have been doing the rounds, and doing some damned fine work, since 1997, but this self-titled album is certainly their best release to date. Produced by Rancid’s Lars Frederiksen (not Tim Armstrong, as stated on the press release), who also chipped in with some guitar and backing vocals and co-wrote brooding closing track ‘Endless Parade’, this is pretty slick stuff, but never lacking in spirit or bite.
Shane Baldwin

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(Wild Kingdom)
Swedish rock n’ roll kings sign off.
Well it seems Nicke Andersson is finally calling time on the Hellacopters and this will be their final album. And that’s a same, ‘cos this seventh album is twelve slices of super-catchy, melodic, 70’s rock n’ roll that kicks chrome-plated ass from start to finish. This is great top down, foot to the floor driving music with huge choruses on the likes of ‘Midnight Angels’ and ‘In the Sign of the Octopus’. At times sounding both like Australian punk legends Radio Birdman or Finnish neighbours Hanoi Rocks, ‘Head Off’ is a great way to go out and in these times of copycat emo bands and anonymous metal it’s a super charged shot of powered up punk, pop and rock n’ roll that’s a real breath of fresh air. Check ‘em out before they’re gone.
El Prez


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THEE MERRY WIDOWS – The Devil’s Outlaws


(People Like You)

All-girl Psychobilly crew with attitude
Judging by the promotional shots, it’s a fairly safe bet Thee Merry Widows are not the kind of ladies you mess with. Fronted by burlesque queen Eva Von Slut, this Californian quintet have established themselves as major players on the US psychobilly scene. They’ve played with the likes of The Meteors, Demented Are Go, Mad Sin and Necromantix and have even followed Johnny Cash’s footsteps by playing at San Quentin. For the most part they play straight up Psychobilly only straying slightly with Misfit’s style Horrorpunk on ‘I Want ‘Em Dead’ and the slow and sleazy ‘Snakebite Kinda Love’. At a time when the genre is starting to attract a number of bandwagon jumping chancers, these girls are here to show them how it’s done.
Lee Cotterell

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GEOFFREY OI!COTT – The Good, The Bad & The Googly



(Boss Tuneage)
Street punk, Yorkshire style.
It was surely only a matter of time before someone would take the Oi! movement to its logical conclusion by bringing the supremely British subject matter of cricket into the equation. And that someone, ladies and gentlemen, is the band known as Geoffrey Oi!Cott, an outfit also fixated with darts, lager and their native Yorkshire. Alright, you’re not falling for this are you? Geoffrey Oi!Cott are of course a spoof band, but like Hard Skin, they have the sound nailed well and proper, showing genuine knowledge and affection for the genre. The album name and sleeve, outrageously aping the 4-Skins’ first album is also a nice touch.
Shane Baldwin

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OUTL4W – Outl4w



Scary kids, getting it right.
It’s a sure sign that you’re getting old when you’re at a festival telling a friend a few facts about the band on stage, he asks “Do you know them, then?”, and you’re forced to admit “No, but I do know their Dad”. The Dad in question is John Bentham, who ran the Jettisoundz video company back in the ‘80s, and now oversees many of Cherry Red’s punk DVD releases, and the fruits of his loins are Bobby, Will, and Jack, who along with Stuart Newburn make up the frighteningly youthful Outl4w. At that festival, Blackpool 2006, the band tore up the stage, no doubt putting the wind up many more seasoned performers, and since then they’ve gone from strength to strength, touring far and wide and putting out a string of fine releases. However, there was always a niggling doubt that the novelty of their precociousness may have had at least something to do with the support of the media, and that it must eventually wear off. Now that the band are weary old war-horses, four years into their career and well into their teens (!), the moment of truth has arrived with their first album. But happily, this album, though brief, is the goods, 27-odd minutes of furious, exuberant punk rock, just the right mixture of old school, hardcore and tinges of metal, the stand-out track being joyous singalong ‘Sonic Youth’.
Shane Baldwin


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(Diesel Motor)
Instrumental rock ’n’ rumble.
Corsican twangmeister (and founder member of The Police) Henry Padovani received a definite nudge in the right direction when drag-punk queen Wayne County presented him with a Ventures LP. From that point on the gospel of the reverb-heavy guitar instrumental would be Padovani’s creed; hooking up with former UK Subs bassist Paul Slack and future Johnny Thunders sticksman Chris Musto, over the next five years Padovani would take the rumble to the masses. Three For Trouble pulls together the cream of the Padovanis output, and while in their day they might have seemed an anachronistic throwback to the surf instro’s golden age, with hindsight it’s evident that Henry’s made some highly creditable entrees into that noble genre; ripe for rediscovery, and impeccably timed for their upcoming string of reunion dates.
Hugh Gulland


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DIMI DERO INC – Sisyphus, Window Cleaning



Red-eyed boneshaking gallic rock’n’roll
This is a break from the norm for Basque country ozziephobes Bang records, who’ve gone out on a limb for a rare non-Australian signing, France’s Dimi Dero Inc. As it turns out though, Sysiphus, Window Cleaning doesn’t present too much of a departure for the label; DD Inc seem to be highly versed in down under rock ’n’ roll’s whiplash dynamics, which isn’t to say these guys are mere imitators; Little Birds and other such cuts of kinetic rockin’ nastiness indicate this outfit have enough of their own to bring to the party, although they’ve learned their lessons well from such anitipodean luminaries as the Scientists and the Birthday Party, whose lingering influence is acknowledged on the closing track, a searing blast through Rowland S Howard’s wonderful Sleep Alone.
Hugh Gulland


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WASTED YOUTH – Wild and Wandering


(Cherry Red)

One from the vaults of the proto-gothic trailblazers.
Denizens of Canning Town‘s fabled rock ’n’ roll hangout the Bridge House, Wasted Youth explored the darker reaches of rockin’ hedonism, matching their nihilistic shades-after-dark credo with an attendant lifestyle that’s done at least one of their former members no favours at all. As an artefact of those times, Wild and Wandering is a shadowy atmospheric affair replete with pre-gothic musical stylings and post-Joy Division self-introspective angst. The morose musings of vocalist Ken Scott (along with the band’s over-reliance on state-of-the-art eighties digi-pedals) might put Wasted Youth rather firmly in the ‘miserablist’ corner, but when the ’Youth hit their stride – as with the melodic Games or the driving I Wish I Was A Girl – they strike an adequate claim for a place on the post-punk map.
Hugh Gulland

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NEW DISASTER – Last Night Rites


Low down, dirty G’n’R loving Rock revivalists.
It comes as no surprise to learn that Texan rockers New Disasters formed from the ashes of a Guns ‘N’ Roses tribute act as that band’s influence is writ large all over this album. It comes as even less of a surprise to find them opening up for the likes of the Drowning Pool, LA Guns, Skid Row and Quiet Riot. The one thing they have got that sets them apart the legions of overproduced, poodle rock worshipping wannabes is a love of harder rockers like Rose Tattoo, The Stooges and the Dead Boys and some of that all important dirt has rubbed off them. So no points for originality but at least they do this thing with some balls.
Lee Cotterell

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VARIOUS ARTISTS – The Night of the Rock ‘n’ Roll Mutants



A budget priced global Psychobilly sampler.
This is a Psychobilly sampler defining the state of the genre now in 2008. It collects bands from the world over and quality tracks at that. The whole gamut of the variations of a musical style that rather than the just ‘refusing to die’ stage it languished in for much of the 1990s, at least in UK, that is back in full flow. This is probably the fist global celebration of Neo- Psychobilly with only The Hangmen and The Go-Katz representing the old school though both bands have evolved alongside the new nutters on the block. Twenty killer tracks too good to pick out a standout in the wordage allowed, an essential purchase for curious and converted alike.
Simon Nott.


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THE JUKE JOINT PIMPS – Boogie the House Down



(Voodoo Rhythm)
Talk about authentic, the birth of rock n roll in the 21st century.
The popular belief is that Elvis Presley wandered into Sun Records in 1954, laid down ‘That’s Alright Mama’ and Rock N Roll was born. The truth is that ‘Rock N Roll (street slang for fucking) had been bashed out since the early 40s by a myriad of artists playing up-tempo jumping blues, filthy lyrics, a stomping beat and even filthier distorted electric guitars being the omnipresent features. What we have with The Juke Joint Pimps is a stunningly authentic take on those days of proto Rock n Roll. This could be seamlessly played alongside a collection from the vaults. Everyone seems to be doing ‘roots’ this month, but none better than these guys.
Simon Nott


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So its true, Poly Styrene is putting on her X-RAY SPEX again. Here we have a quick look at their history.



X-Ray Spex formed in London in 1976 with the original line up of Poly Styrene on vocals, Jak Airport on guitars, Paul Dean on bass, Paul B.P. on drums and Lora Logic on saxophone.

Poly Styrene found members by placing adverts in musical papers NME and Melody Maker.

The band existed between 1976 and 1979, releasing five singles (‘Oh Bondage, Up Yours’, ‘Identity’, ‘The Day The World Turned Day-Glo’, ‘Germ Free Adolescents’ and ‘Highly Inflammable’) and one album ‘Germ Free Adolescents’.

Their music, although punk-based, was less centred on nihilism and anger and more around colourful wit and mockery.

The first gig they played was at The Roxy in Covent Garden after just six rehearsals. It was energetic and messy – as can be heard on the ‘Live At The Roxy’ album.

Single ‘Oh Bondage, Up Yours’, which was released by Virgin Records in 1977, has often been recognised as their best known song despite not hitting the charts.

Their lyrics often discussed rampant commercialism in an increasingly sterile and artificial world.

Poly Styrene refused to be seen as a sex symbol, stating that “If anyone tried to make me one I’d shave my head tomorrow”

Poly Styrene left the band in 1979 to release a solo album ‘Translucence’ before joining the Hare Krishna movement alongside Lora Logic who left the band in 1977 aged just 16.

The band reformed twice, once in 1991 sans-Poly playing a sell-out gig at the Brixton Academy and again in 1995 with Poly back in the frame.

Reforming without Poly was seen as a mistake by Lora Logic, who said “You can’t really have it without Poly”.

The second reformation led to the release of their second and last album, ‘Conscious Consumer’

The album was a commercial failure, mostly down to the lack of tour and promotion due to Poly being run over by a fire engine and breaking her pelvis.

Jak Airport died through cancer in 2004 after working for the BBC’s Corporate and Public Relations department.

The band is set to reform once again in September at the Roundhouse in Camden. The reunion will include original members Poly Styrene and bassist Paul Dean.

Lora’s mother was born in Finland, where Lora is now known as "The Godmother of Punk".

Touring and promotional work for ‘Conscious Consumer’ was cut short when Poly was run over by a fire engine in central London, luckily escaping with only a fractured pelvis.


X-RAY SPEX play Londons Roundhouse on Sept 6th. Look out for a full interview with Polystyrene on Vivelepunk soon.



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THE SAINTS, are of course, one of the greatest bands in the history of punk. Late last year the original line up reformed in Australia, but meanwhile singer Chris Bailey is happily living in Amsterdam and touring with the new Saints line up. He released the last Saints album Imperious Delirium on Cadiz in 2006. Hugh Gulland got ‘stranded’ with the man!

"We must have been like hillbillies," recounts Saints frontman Chris Bailey of the Oz-rock legends’ first encounter with a record label "We didn’t even know what a record company was!"

Oblivious to the outside punk scene, these four teenage malcontents in the backwater of mid-70s Brisbane channelled their urban ennui into a ferocious set of amped-up R&B. Punk in all but name, the Saints had the sneer and the songs to match, although their refusal to conform to the scene ensured it would be some years before the rest of the world would catch up with them.

Chris Bailey remains an uncompromising artist to this day. Speaking from his current base in Amsterdam, he outlines the Saints’ transition from Brisbane no-marks to major players on the punk rock stage.

"When we were young, there was a record shop in town, that had lots of American blues music and rock ‘n’ roll stuff, and we were exposed to a lot of music that wasn’t mainstream. Because Oz music in the seventies was pretty fucking dull! And there was no music scene to speak of, so we grew up in some kind of Oz isolation. And lots of people say, ‘punk rock’ and all that, but we had no clue! No idea! We discovered blues music pretty early on, and R&B – that kind of merged into what we were writing, we’d kind of edit things down and learn as we went, but the whole ethos of the band was very much R&B, which I think is maybe a little bit different to what actually became punky rock, which was kind of a fashion statement for them, and music second, and for us the other way around."

Having established a local fanbase, The Saints came to EMI’s attention through pressing up their own single. Was there any precedent for a band doing that?

"I don’t know if it was a notion in rock ‘n’ roll, maybe in the fifties… I think it was probably – and this is a great thing – naivety. We didn’t know what we were doing, so we did the right thing purely accidentally. The only reason EMI picked us up, that coincidence, 1976 was happening in London, and a couple of reviewers gave us really over-the-top reviews! UK rags were hammering the single and then someone in Manchester Square said to someone in EMI Sydney ‘Get these boys!’ and they sent a couple of very shiny guys and they took us into the studio and bought us drinks, and it’s not quite the Beverley Hillbillies, but it was close!"

The resultant album, ‘I’m Stranded’, was a storming tour-de-force; overlooked by many at the time, ‘Stranded’ has since become widely recognised as one of punk rock’s landmarks. Bailey regards the long delay in public recognition with detached amusement. "We went into the Hall of Fame a couple of years ago in Oz, and Ivor, the drummer from the old days, made a brilliant speech, along the lines of ‘Look, it’s really nice you’re all hanging around giving us these presents; but, perhaps if some of you had’ve been here 25 years ago, it might have all been different!’ Which is very cheeky, but to the point!"

Essential listening: I’m Stranded LP (EMI). Also highly recommended is the recent Saints box set, All Times Through Paradise, also through EMI.

Hugh Gulland


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He was the original guitarist for Sting’s punk rock constabulary the Police and went on to play with trani rocker Jayne County. As he prepares to return to the UK to support the Police at Hyde Park with his band The Flying Padovanis, HENRY PADOVANI looks back over his rather interesting career.

Why did you decide to leave the Police just as they were breaking it?
"Well, the fact is that we were not breaking it and I didn’t leave just like that. When you have a guy like Sting in the band, even then, you want to have something new and exciting everyday to present him with. And in ’77, the police were not cutting it. We were not getting any gigs, mainly due to the fact that the punks didn’t look at us as one of their bands and would not really come to our shows. They were not interested."

Padovani (far right) in The Police

"Sting couldn’t place any of his songs in the repertoire as Stewart was driving the band and didn’t think people would be interested, fair enough and so after about 6 months together the morale was not the best. When andy came, it didn’t help for the gigs and for the audience, and it also changed the balance in the band, andy pushing Sting to write and bring more material while Stewart and I were trying to keep the band in the punk scene. That is it, really."

"Naturally, we started to argue more and more and the band was on the verge of splitting up. We tried being a four piece, but it didn’t work. The best was for them to continue as a trio, ok, not a trio that would try to break the ‘ punk scene’ but a trio that had a future doing a music that would draw from the punk scene but make it commercial. Thanks to Andy helping Sting bringing his songs to Stewart, that is what happened. But it didn’t happen in England at first, but in America. America was curious about the English punk scene, especially when rumor had it that punk bands couldn’t play. The Police had the idea to go to the US and present themselves as a punk band. A bright idea, especially with their brand new blond hairstyles but also with their great playing abilities. America loved them. Suddenly Americans thought themselves as hip and punks. But that was about a year after I had left the band…"

Their first single ‘Fallout’ was quite abit more punk rock than their later stuff, did you write it? How did it come about?

"When I met stewart, he wanted to form a punk band, having left curved air. We started to look for a bass player. He had about a dozen songs that he had already written and that we used to practise with his brother ian on bass and his girfriend Sonja Kristina on vocals, until sting arrived of course. Fallout was one of them."

And then you joined up with Jane County?

"The first time I had seen wayne county and the electric chairs, it was at Dingwalls and I had loved them. we went on tour together and I immediately got on well with the guitar player, greg van cook, an incredible player, à la jeff beck, yardbirds era. After I had left the police, I went back to Corsica for a short holiday. When I came back, I called greg as a friend to go out to clubs. He told me they were looking for a guitar player. I went to meet the band, we played one afternoon and they asked me to join right there and then."

Padovani in The Electric Chairs

What were the shows at the Roxy like?

"Incredible place where we saw the best punk bands in town, night after night. Packed everytime. People were cool and we knew that place was ours. One has to remember that those punks were building something bigger than them. All for one and one for all."

"Those punks were more like hippies really, and everyone was welcome. I remember the first day I went there, I had just arrived from France in England and sported a beard and long hair. The damned were on, that night. Nobody bothered me. at the contrary. I embraced that scene on the night and the next day, I went to cut my hair and beard. I wanted to be one of them."

Henry with Jayne County and the Electric Chairs

Why reform the Flying Padovanis now?

"Why not? We are the best at what we do. We were great then and I think we are better now. Apart from chris, the drummer, who has kept playing in the meantime, with thunders and joe strummer and glen matlock, paul slack and I have stopped playing for 25 years. But, somehow, we are even better now that we were then. Don’t ask me why or how, it is like that. we have it in our blood. Nobody does the music we do and I think that until we see a band that does it, we shall have to be on stage because the music we play and the way we play is absolutely essential to rock and roll. That is the way it is.we are a real band. much better than the sum of each of us."

Padovani in the reformed Flying Padovanis

You have quite a pedigree in the band-can you tell us about the band members?

"Chris Musto, as I said, played with Johnny Thunders, Joe Strummer and Glen Matlock. Paul Sack was with the UK Subs. But having said all this, their best band is the flying padovanis. They know that! And so do I."

Your sound has been liked to Link Ray and Dick Dale? Would that be right?

"Link Wray I would agree. We love link wray and we do some of his numbers on stage, things like jack the ripper, or ace of spades.. link wray has to be essential to rock music. All the guitar players I have met, have once in their life played rumble.. I believe Bob Dylan used to open his shows with rumble.. link wray is definitely an inspiration. Just cool."

"The other influence would be the ventures. It is Wayne County that gave me a record by the ventures, who got me instantly hooked to instrumental guitar music."

"Dick Dale is now well known because of the Tarantino movies. Thank you Quentin. But, I believe we never were into Dick Dale at all. It was the ventures and Link Wray."

"As of today, we have decided to drop any of the melodic numbers we used to do. It is more basic and hypnotic rock and roll. No effects. Just a guitar plugged into an amp, a bass and a drum kit. That is all."

Henry Padovani today

You are playing with the Police at Hyde Park -its a massive show. Are you looking forward to it?

"Absolutely. We are as a band and I am personally. Sting wanted us on that show and that is great of him. When I joined them at the Stade de France, in front of 160,000 people, I told them: I am going to play as a Flying Padovani. They all laughed. After the show, sting told he totally loved the way I approached the song. That is, I told him, the flying padovani way!"

"I know all the real police fans will be at the front of the stage and I know, because I receive a lot of mails, that they want to see my band. it will also be the very last police show in England. We will be doing our very best that night. We will be very hard to follow…"

How do you get on with Sting and Stuart Copeland these days?

"I get on very well. In fact, after I quit playing in bands, I used to see sting a lot, doing normal things like going to watch football, or tennis, or going to clubs, just hanging out as friends, in paris, in italy or wherever we might be. we probably exchange a mail everyweek."

"When I made a record 2 years ago, and we needed a sort of reggae rock drums for a song, I asked stewart if he wanted to play on it. He said yes and wondered whether I had asked sting, which I hadn’t.. I called sting and he asked me whether I had asked stewart.. i realised they would hardly talk to each other. I told them, hey guys why don’t we settle all this in a studio and I, yes I, henry will be the boss. We did and we recorded a song called welcome home, about environment. God knows if it helped but, 6 months later, the police reformed…"

"When they were to rehearse the show in italy, sting asked me to come down there and stay with them. I did and we had a great time. I knew that they would be doing great. They sounded amazing."

Thanks a lot for your time Henry.

Eugene Big Cheese magazine/


Fri 6th – 100 Club, supporting Pretty Things
Weds 25th – Eel Pie Club, Cabbage Patch, Twickenham
Thurs 26th – The Amersham, New Cross
Sat 28th – Ace Cafe
Sun 29th – Hyde Park (w/ The Police)

25th – 27th Fuji Festival, Japan

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The Briefs men get retro with a colourful collision of new wave, ‘70s punk, mod-revival and power pop that is THE CUTE LEPERS.

When punk rockers The Briefs decided to go on hiatus last year, vocalist/guitarist Steve E. Nix didn’t let it slow him down. Instead he formed The Cute Lepers with fellow Briefs man Stevie Kicks (bass), Zache Out (guitar), Josh Blisters (drums), Bent Rewd III, Analisa Leper and Miss Meredith (all backing vocals, tambourine and handclaps) to take the Briefs template and inject it with a more power pop sound.

Filled with female backing vocals and percussion, their pop sensibilities shine through in their unashamedly retro tunes. The Seattle posse are influenced by bands such as new wave pioneers The Cars, ‘70s London mod revival band The Chords, ‘70s American rockers The Jags and rock ‘n’ roll guitar hero Johnny Thunders. Adding all these sounds to the humorous Briefs classic punk-loving attitude has resulted in hugely fun, short, sugary blasts such as ‘Nervous Habits’, ‘Terminal Boredom’ and ‘It’s Summertime, Baby’.

With their debut full-length hitting shops back in April, its title reflects their love of all things retro punk rock – ‘Can’t Stand Modern Music’. If you feel the same then put on your dancing shoes and join the Lepers. Vive Le Punk caught up with singer/guitarist Steve E. Nix…

Hi Steve E, Eugene here from Vive Le Punk.

“Hi Eugene, nice to hear from you!”

So what has happened to the Briefs Steve E?

“Well, the Briefs have simply reached a point where there are no plans. I’m more interested in spending my time writing Cute Lepers songs and playing with this band, so that’s pretty much where things are at. Y’know… you’ve gotta spend your time doing what’s fulfilling and all that.”

And the Cute Lepers are part Australian/part American?

“No, we’re part Canadian though! I think that question refers to some untrue internet information. But hey, one of us is part Latino and one is part Asian and I’m adopted, so we’re kind of exotic… sadly no Australians though. Maybe once we get some horn players.”

You seem to be going for that classic power pop sound?

“Yeah, among other things. First wave punk, power pop, mod revival, the Rolling Stones. Hooks with a bite.”

You guys seem to love all the UK ‘70s type stuff. Got any faves?

“The Carpettes, The Boys, The Chords, The Lambrettas, The Starjets, Fast Cars, 999, Buzzcocks, Nipple Erectors, Damned, Elvis Costello… there’s tons.”

Your playing with Johnny Moped at the 100 club – are you a fan?

“Yep! The Nipple Erectors have recently confirmed that they’ll be performing as well. It’ll be Shane MacGowan and Shanne Bradly from the original line-up. We’re thrilled!”

And what can fans expect from the 100 club show from you and the Cute Lepers?

“It’s our first time overseas, so I think we’ll really be making an effort to put on an energetic show and play our songs well. We usually have a blast playing and we’re looking forward to playing the legendary 100 Club of course! You can expect abrasive guitars, three back-up singers smashing tambourines together and singing harmonies, a few excellent covers we’ve pulled from the UK mod/power pop closet, and you can expect a star struck group of Lepers… we’re playing with the fucking Nipple Erectors!”

The Cute Lepers play Londons 100 Club next Tuesday May 6th with Johnny Moped band and the Nipple Erectors.

‘Can’t Stand Modern Music’ is out now on Damaged Goods.

Eugene Big Cheese



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New York hardcore legend and former Cro-Mags singer John Joseph is bringing his all-star new hardcore band to Europe. Expect dates in August. Bloodclot have just released their debut album ‘Burn Babylon Burn’.

BLOODCLOT’s sound combines classic New York hardcore intensity with extreme metal precision and brutality. It’s the sound of the New York underground rising again. The members of BLOODCLOT are no strangers to the genre. Singer John Joseph is the former frontman of legendary NYHC pioneers CRO-MAGS. Drummer Danny Schuler was a founding member of Brooklyn’s BIOHAZARD. Bassist Rick Lopez comes from NYC’s MERAUDER, Guitarist Scott Roberts is a former member of CRO-MAGS, BIOHAZARD and Cleveland HC legends THE SPUDMONSTERS, and Guitarist Eric Klinger is from PRO-PAIN and THE SPUDMONSTERS. Despite a hardcore lineage, the band’s songs break out of any and all genre confines. They blend slick metallic riffs with hardcore hooks, while steam rolling rhythms spearhead the assault. Their self-produced debut, "BURN BABYLON BURN" will drop later this year and is bound to set a new hardcore standard.

Back in 2005, Scott called John and asked him to sing for a new band he and Danny were forming. Upon hearing the demos, John was immediately inspired and began penning lyrics to what he had heard. Soon after, Rick joined the fold and the band was complete. John describes the band’s sound best. “I don’t want to lock it into any categories. There are hardcore and metal qualities, punk rock qualities, even some fusion in certain parts. It’s just heavy music, with a heavy message.” Tracks like “Revolution,” “Subtext” and the title track certainly draw from down and dirty NYC hardcore. However, the band couples that classic hardcore vibe with emotional intensity, spirituality, and intense musicianship.

Most importantly, the band maintains a positive focus, preserving the tenets of unity central to the classic ethos. And true to the classic punk-rock DIY vibe, they also wrote and recorded everything together in Danny’s studio, with no outside influence, financially or otherwise. Explains Danny, "We set out to create a piece of music that would last forever, and reflects the turbulent times we’re living in. The only way to do that was to believe in each other and do it completely by ourselves. We lived every second of this record, we trusted our instincts, and worked our asses off to get it done. We made this record with absolutely no regard for what is popular right now. We listened to ourselves, dug deep, and created the record we wanted to hear." Each member shared the same vision from the second they started playing. John explains, “We just play what we feel. If the sounds move us, then that’s what goes down. As an artist, it’s important not to write for anybody else other than yourself because you have to take it to the audience and if it ain’t real, the audience can smell the lie.” In some ways, this record even hearkens back to classic output by the likes of the CRO-MAGS and BIOHAZARD. “Every song tells a story and every song hits you over the head musically. In the sense of the message, I kind of see it as Age of Quarrel Part 2. Things have gotten a lot worse in the last twenty years. We’re at a worse point as a planet, and that’s what we’re delving into on this album. It’s a more advanced version of Age of Quarrel, and there’s a lot more angst in the vocals, the lyrics and everything.” The message, however, remains relevant and functions as a call for change.

The band’s name itself also possesses an important meaning. “In Jamaican, the word ‘bloodclot’ is a curse that describes everything being fucked up. It’s a ‘bloodclot’ situation, what’s happening on the planet, who’s running things through deception and lies, and we need to fix it.” If anyone can make a change through music, it’s these four individuals with over 80 years combined experience in hardcore. In the end, BLOODCLOT will make an impact. John exclaims, “We live this, every single day, that’s why it comes off authentic, because it ‘IS’ real.” 

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