Hot on the heels of their show-stopping turn at Red Rooster Festival, blues explorers JIMMY REGAL & THE ROYALS are back with a new video, which they’re premiering exclusively with Vive Le Rock!
‘Ain’t Done Yet’ is the title track form the South London trio’s new five-track EP which follows on from their widely praised second album Late Night Chicken released last year.
Pushing the envelope a lot further than most bands currently treading the boards of the Brit-blues circuit, Ain’t Done Yet finds the Royals channelling influences and inspirations as diverse as Frank Sinatra, Townes Van Zandt, Captain Beefheart and Ali Farka Touré.
Set for release this Friday 29 October through Lunaria Records, Ain’t Done Yet is available to pre-order here.
Fast-rising garage duo THE COURETTES have released another new video as they head out on tour.
A celebration of The Beatles’ drummer, ‘R.I.N.G.O.’ is taken from the pair’s new album Back In Mono, which is out today through Damaged Goods.
“As big fans of the 60s music and counterculture, it seems we´re slowly losing our heroes,” explains singer/guitarist Flavia. “So, here’s an ode to the fab Ringo Starr, who is still around banging drums and preaching peace and love. Ringo is a big influence on Martin´s drumming and one of rock’n’roll biggest icons. It’s also an homage to all the underdogs, as many would have written a song to Lennon, Harrison or McCartney instead, but we want Starkey! Teenage heartbreak and fuzzy pop garage hit, here comes R.I.N.G.O.!
“A subtle detail is that the single (and album) was recorded using a 60s Trixon drum kit,” seh continues. “A kit similar to the one Ringo used with The Beatles in the early Hamburg days. The video is inspired by the wonderful The Ronettes, The Shangri-Las TV-performances of the 60s. Colours/black/white silhouettes with sharp graphic shapes makes it the perfect visuals for this smash hit single. Ringo! We love you! Yeah! Yeah! Yeah!”
The Courettes kick off their tour tonight in Portsmouth before heading round the country, via London’s Lexington to Edinburgh. Full dates are…
Fri 15 – Portsmouth The Loft Sat 16 – Bristol, Crofters Room 2 Sun 17 – Norwich Norwich Arts Centre Mon 18 – Folkestone, The Chambers Tues 19 – London The Lexington Wed 20 – Bedford, Esquires Thur 21 – Hastings The Piper Fri 22 – Sheffield Yellow Arch Studios Sat 23 – Middlesbrough Westgarth Social Club Sun 24 – Hull Adelphi Mon 25 – Newcastle The Cluny Tues 26 – Manchester Night N Day Wed 27 – Edinburgh Voodoo Rooms Speakeasy
Read a new interview with The Courettes in the latest edition of Vive Le Rock!
Notts folk-punks FEROCIOUS DOG have unveiled a moving new video ahead of their UK tour.
‘The Hope’ is the title track of their new album which is out through Graphite Records this Friday 15 October.
“’The Hope’ is exactly what it says on the tin.” declare the band. “It’s a song that shows you when things are at their very darkest, there’s always a light at the end of the tunnel. There’s always help, there’s always hope! The subject matter is probably at it’s most poignant right now with what’s happening with the world.”
As previously announced, this Friday also sees the start of the band’s UK tour. Full dates are…
October Fri 15th Old Fire Station Bournemouth Sat 16th Chalk Brighton Sun 17th The Venue Derby Mon 18th Old Cold Store Nottingham Tue 19th Nightrain Bradford Wed 20th O2 Academy 3 Manchester Thu 21st Nell’s London Fri 22nd O2 Academy 2 Oxford Sat 23rd Waterfront Norwich Thu 28th The Globe Cardiff Fri 29th O2 Academy Leicester Sat 30th Esquires Bedford November Fri 5th O2 Academy 2 Newcastle Sat 6th La Belle Angele Edinburgh Fri 12th Ropetackle Arts Shoreham-On Sea Sat 13th The Forum Tunbridge Wells Thu 18th Cheese & Grain Frome Sat 20th Exeter Phoenix Exeter Sun 21st Guildhall Gloucester Fri 26th KK’s Steel Mill Wolverhampton Sat 27th Picturedrome Holmfrith December Sat 4th Leadmill Sheffield
Hot rocking Cumbrian duo VOODOO RADIO release their debut single and video which they’re premiering exclusively with Vive Le Rock!
Fusing psychobilly and cyber-punk, ‘Space Girl’ is a first taste of the pair’s forthcoming 8-track mini-album Pop Pills.
Currently based between Ulverston and Hammersmith, father and daughter duo Tony and Paige Cook were discovered by their management busking in Leicester Square tube station, which led to them securing a deal with Holy Dotage Records, also home to Spiz Energi.
A veteran of numerous rock bands, Tony has toured alongside the likes of Status Quo, Wizzard and Budgie with Paige joining on backing vocals since the age of 14. Now the pop/punk Voodoo Radio finds them channelling the likes of Blondie, Revillos and Transvision Vamp with tasty Van Halen-esque licks thrown in for good measure!
‘Space Girl’ is available to stream/download here.
Set for release on 3 December on 10″ vinyl, Pop Pills is available to pre-order here.
Catch Voodoo Radio at the following dates…
3 Oct – Black Bull, Gateshead 3 Dec – Mildmay Club, London
Aussie power-poppers THE ON AND ONS are back with a new album next month.
The aptly-titled Back For More is the Sydney trio’s third full-length and follows relatively hot on the heels of last year’s acclaimed mini-album Menacing Smile.
Formed in 2015 by brothers Glen and Brian Morris, alongside bassist Clyde Bramley, the band have an impressive collective CV, which includes stints with the Hoodoo Gurus, Kings Of The Sun, Screaming Tribesmen and Paul Collins Beat.
Set for release on Citadel on 4 October, Back For More is available to pre-order from the label and from the band themselves via Bandcamp.
Swedish action rockers THE DRIPPERS have a brand new single out this Friday.
A scorching declaration of intent, ‘Time For Some Action’ is an incendiary teaser for the Gothenberg trio’s second album which follows on from their straightforwardly-titled 2019 debut Action Rock.
“It was William [Dickborn, guitar] who told us in the car, going up to Sunlight Studio, that he had a new song that was gonna be on the album,” explains bassist Viktor Skatt. “We’d worked hard and pre-produced the other tracks over several months so it seemed like he was a bit late to the party with this one. But we learned the song in the studio and worked on it for half an hour. Turned out it had a great groove to it, and with that commanding title it was a fitting song to choose as a first single. It’s time for some action!!”
Manchester veterans THE SPEED OF SOUND have a new video which they’re premiering with Vive Le Rock!
A slice of sprightly psych clocking in at under two minutes, ‘Opium Eyes’ is the second single to be lifted from the band’s new album Museum Of Tomorrow, their fifth, which we described as “unique and otherworldly”.
“‘Opium Eyes’ reflects the glazed, distanced stare of someone evading the past, the present and the future,” say the band. “Disengagement is the safest retreat for the alienated; from the poppy fields of Panta to Thomas de Quincy and on to Wild Palms and Dune, the escape to an artificial reality overtakes the ‘real’ world in importance.”
Released through Californian label Big Stir, Museum Of Tomorrow is available here.
HIS LORDSHIP, the new rock’n’roll power trio project from Pretenders guitarist James Walbourne, unveil their debut single today.
The band recently tore a strip off the Red Rooster Festival and London’s Moth Club with their incendiary stripped back rock’n’roll. Now His Lordship goes overground with ‘I’m So Bored Of Being Bored’, a sentiment that most of us can empathise with during these challenging times.
Check out the, quite literal, lyric video…
The band have announced a one-off Christmas show at The Lexington, London on Tuesday 21 December, with support from Iraina Mancini. Tickets go on sale here on Thursday 16 September.
‘I’m So Bored Of Being Bored’ is available now digitally from Spotify and all the usual platforms.
THE CHORDS UK are back with a new video as a taster for their forthcoming album.
The rousing, anthemic ‘Hey Kids! Come The Revolution’ is the first single to be taken from Big City Dreams, the follow-up to 2018’s Nowhere Land.
Described by Paul Weller as “the best songwriter of his generation”, guitarist/singer Chris Pope was a founder member of late-70s mod revivalists The Chords, who racked up a huge following and string of minor hits before splitting in 1981. Pope returned with The Chords UK in 2013, broadening the band’s sound and fanbase with a set of hard-hitting punchy, punky anthems, as well as successful tours of Europe and the US.
‘Hey Kids! Come The Revolution’ is set for release on 8 October through EPOP Records, with Big City Dreams set to follow on 18 February. The following night, the band will play a special launch party at the legendary 100 Club on London’s Oxford Street.
THE WILDHEARTS celebrate the release of their brand new album with a video released today.
The ball-breaking hardcore-channelling ‘Splitter’ is taken from 21st Century Love Songs, which is out today through Graphite Records. The album follows on from 2019’s Renaissance Men, the band’s highest-charting album since 1984’s P.H.U.Q which went all the way up to 11.
“’Splitter’ was the first song that I wrote for the new album,” explains Ginger. “The one where I thought, ‘Oh fuck, I can hear us playing that, it’s gonna be filthy, especially live’. I sent the riff to Ritch straight away, as I always do when I get an idea I’m excited about, and he was into it right off the bat. That’s the thing with new Wildhearts songs, until there’s a big, dirty riff in the bag you can’t move on and write the rest of the album. It all starts with a righteous riff and some shouting. And I hope it always begins that way. If you ain’t got the riffs then you ain’t got shit.”
Fast-rising post-punks A VOID have unveiled a new video ahead of their performance this weekend at London’s Punk’n’Roll Rendezvous festival.
The festival takes place at Nambucca at 596 Holloway Road N7 from Friday 3rd to Sunday 5th September.
The London-based French trio will play on the Saturday as main support to HEALTHY JUNKIES. Other bands appearing over the weekend include YUR MUM, SWAMP CHICKEN, NEON ANTIMAL, THE ANORAKS, KONTROL FREAKS, FLEHS TETRIS, SUBURBAN TOYS, BARKING POETS and more.
Formed in Paris, A Void have spent the past four years based in London earning a reputation for their incendiary gigs. A metaphor for luck, their new single ‘Stepping On Snails’ was produced by Jason Wilson (Dinosaur Pile-Up, YouMeAtSix).
Hit fundraising single ‘Reclaim These Streets’ will be performed live for the very first time at the annual LOUD WOMEN festival next month.
Released in May, the single reached no.3 in the iTunes Alternative chart, raising funds for the Women’s Aid charity as it did so.
The song will be performed onstage by the supergroup who recorded it, featuring members of My Bloody Valentine, Salad and T-Bitch plus no fewer than 20 vocalists, including Brix Smith, Patsy Stevenson, Cassie Fox, Janey Starling, Helen McCookerybook.
The event – Loud Women’s fifth festival – will take place at the 229 Club in London on 18 September and will feature sets from anarcho legends Hagar The Womb (pictured), ĠENN, Piney Gir, Bugeye, Vulpynes, I Doris, T-Bitch, Bang Bang Romeo, IDestroy and more.
Says festival founder Cassie Fox, “The aim of the festival is to show how many incredible female-powered bands are out there – as a counter to every other festival, those that seem to struggle even to book 50% female acts.”
North Carolina punks THE MUSLIMS have unveiled a new video from their forthcoming new album.
‘Unity’ is taken from the Durham trio’s fourth full-length Fuck These Fuckin’ Fascists which is set for release through Epitaph on 24 September.
Formed in 2017 in the aftermath of the 2016 US election which brought Trump to the presidency, the all-Muslim, all-gay trio take draw inspiration from such trailblazing and uncompromising black artists as Nina Simone, Jimi Hendrix, and Poly Styrene and Bobby Hackney Sr of Detroit’s pioneering black proto-punk band Death.
“Love is an action word that demands of us to speak up and fight, passionately, for the future we all deserve,” proclaims vocalist QADR. “I’m so tired of their belligerent screams for ‘UNITY,’ corny dances and symbolic gestures. We don’t want Harriet Tubman on a fuckin’ $20, we want reparations and no more racist police.”
NEW MODEL ARMY frontman JUSTIN SULLIVAN has announced a string of solo dates for the Autumn.
The dates follow on from the May release of Sullivan’s second solo album Surrounded, released eighteen years after the first.
The album was written during the first weeks of last year’s lockdown and recorded mostly by Sullivan at home, with contributions from all current members of NMA as well as various other guests.
“Under the circumstances, it wasn’t particularly surprising that this was the moment to make another solo record and the songs came thick and fast in the first few weeks of the lockdown,” says Sullivan. “There is not so much about ‘what’s happening in the World’. As with ‘Navigating by the Stars’, which was written in the aftermath of 9/11, I wanted to write about other things – some well-known stories, some less well-known, some autobiographical and more a landscape of the imagination than social comment.”
Sullivan plays the following dates…
06 Oct – BLACKPOOL Waterloo Bar 07 Oct – LEEDS Brudenell Social Club 08 Oct – SUNDERLAND The Peacock 09 Oct – SHEFFIELD Corporation 10 Oct – LONDON The Lexington 11 Oct – NORWICH Waterfront 13 Oct – EXETER Phoenix 14 Oct – BRISTOL Exchange 15 Oct – DERBY The Venue 16 Oct – NEWHAMPTON Arts Centre 17 Oct – BURY The Met 19 Oct – STOWMARKET John Peel Centre 20 Oct – SHOREHAM Ropetackle Arts Centre 21 Oct – BEDFORD Esquires
BILLY IDOL returns next month with a brand new EP.
His first new music in seven years, The Roadside features four new songs co-written with longtime collaborator Steve Stevens and produced by Green Day and Weezer producer Butch Walker.
During the past year, Idol has found himself in reflective mode and as such the EP’s lead track and first single ‘Bitter Taste’ find him ruminating on his near-fatal 1990 motorcycle accident.
“I think everyone has been feeling more reflective (during the pandemic),” he says. “So, it seemed quite logical and natural to write something about my motorcycle accident. Certainly, the motorcycle accident was the catharsis, the wake-up moment. A little bit of me got left on that roadside. But it wasn’t necessarily a bad thing in the end; it was a wake-up call. Maybe on that roadside I left behind the irreverent youthful Billy and opened the door for a more attentive father and a more sensitive musician.”
The single is accompanied by a new video by esteemed US photographer and filmmaker Steven Sebring.
The Roadside is Idol’s first release under a new deal with Dark Horse Records, the label originally founded by George Harrison and now relaunched by his son Dhani Harrison and David Zonshine. “I couldn’t be more excited to welcome Billy Idol to the Dark Horse Records family,” says Dhani. “Billy is a legend and his music couldn’t fit the Dark Horse persona any better. I’ve loved his music throughout my whole life so to be able to give this new music a home on our historic label is a massive honour.”
Set for release on 17 September, The Roadside is available to pre-order here.
Washington DC punk pioneers FUGAZI are to be celebrated with a new tribute album this Autumn. And Vive Le Rock is premiering a track from it!
One of THE most influential and inspiring bands of the 80s US punk scene, Fugazi took hardcore and ran with it, creating sharp and incisive new forms and driving the DIY and straight-edge ethos that underpinned punk for decades to come.
Spread across a limited edition double-CD package, Silence Is A Dangerous Sound: A Tribute To Fugazi features 43 tracks from 43 of the bands that Fugazie inspired.
Check out Calgary punks BELVEDERE’s version of ‘Styrofoam’…
“I first heard Fugazi and Repeater in the early ’90s and was blown away,” says band-member Steve Rawles. “The rawness of the music, the lyrics, and the DIY message was heard loud and clear. We’re so thankful to be able to put our spin on ‘Styrofoam’.”
Due for release on 1 October, through Ripchord, with all profits going to the Tribe Animal Sanctuary in Scotland, Silence Is A Dangerous Sound is available to pre-order here.
COLOURSØUND, the collaborative project of THE CULT’s Billy Duffy and Mike Peters from THE ALARM have just released their long-awaited second album Coloursøund II. In the latest edition of Vive Le Rock!, Guy Shankland hears from Duffy. In this special online-only interview, we get a track-by-track rundown of the new album from Peters…
‘Paradise’ “I just heard that as being an instant piece of Coloursound music. It’s a great starting point for a classic Billy Duffy riff played on the White Falcon. It’s iconic before you even hear the vocals come in. It’s a cliche, but when I first heard it, I felt like I was in paradise. Hearing my favourite guitarist of all time sharing one of his brand-new creations with me, and that was the driving force of the album. At this point in our lives, we’re free people; we can go where we wanna go. We love and respect both The Alarm and The Cult, but we can work outside of those confines and let this one be an anthem for our time together.”
‘Lightning Strike’. “What I like about working with Billy is, as a great guitarist, he’s not precious about where the source of the material comes from. So he’ll sometimes ask, “What have you got Mikey?”, and I’ll play him a riff; I do feel nervous about showing him one of my riffs (laughing) because he’s so great on guitar, but he sometimes likes loading the weapon with some ammunition that comes from another source. He listens to a riff I’ve recorded on my phone, and then as soon as he starts playing it… it goes up to twenty on the dial. He really does know how to place that riff into a space that you then hear as massive rock music. I wanted the lyrics to be more about, Coloursound are back in town. It’s like lightning strikes twice. We’re here now, we’re in this moment, and we’re going to make the best of it…”
‘Revelation’. “Again, this song has got a stamp on the darker side of where we’ve come from—the alternative music of the eighties which spawned a generation of influences if you like. I’ve always loved Killing Joke, and I thought it would be great to have something a little bit darker on the record. It was actually Billy’s guitar riff, and when we were writing the album, I took Billy up to this place near Carnarvon, which I’d found on the beach, a little beach house. The waves were crashing in, and it felt like we were right in the bosom of Mother Nature and the revelation of the waves hitting the sea and hitting the window of the house we were writing in. The song just poured out in an instant. Billy hit the coolest chords, and there it was.”
‘Addiction’. “I think ‘Addiction’ has a lot of ties with the original sound of Coloursound. We were originally responding to the Britpop generation that spawned around us in 1999. Billy and I came from a generation that felt we’d been pushed aside a little bit. When both our bands arrived in America in the late eighties and a big part of the nineties, we were the alternative, but then the next minute, you’ve got a new wave of alternative with Nirvana and Pearl Jam. In Britain, it was Blur, Oasis and the Manic Street Preachers and we just felt swept aside, and we had some songs on that first (Coloursound) album that were our way of saying, hey, we’re still here, still alive and still contemporary. We may not be in the bands you know us from, but we’ve still got a lot to give out, and that still comes across in what we’re doing. We listen to modern music – Sam Fender, Catfish And The Bottlemen… We listen to what’s going on and even though we’re elder statesmen of rock music if you like, we still wanna be on the front line, in the trenches where it’s all really happening. Also, we both work in an industry which has major issues with a plethora of habits and addictions.”
‘Why’. “We originally intended to freshen up and properly record some of the original songs that we had from 1999. The original recordings we made were really just demos, good production demos. We were going to go into the studio with someone like Bob Rock and do a big album. Unfortunately for Coloursound, Ian Astbury and Eddie Macdonald from The Alarm came to see a gig, and it was like, wow, better get these guys back where we belong! The phone started ringing, and opportunities started arriving for The Alarm. ‘Why’ came in at the tail end because we originally went in to write three songs and re-record some cuts from the original era, but we got a roll. Songs just flew out, Billy said, I’ve got this chord sequence here, and we were pretty much packed and ready to go, but he played me, and it just reminded me of something Bowie might have done around Ziggy or Aladdin Sane time. It’s almost got a Steve Harley Cockney Rebel feel in a way, and I just heard the lyric ‘Why. Why are we here after all this time? Why didn’t we walk away then after all this time?’ I think there’s a bit of sub-conscious reflection in it, the fact we both had to walk away from Coloursound in 1999 and go back to our real lives. The relationship we had was just as powerful, the pull; we knew we had to walk away, but it still hurt. In 1999, Coloursound was set up to become something like our generation’s version of the Foo Fighters or something. There’s a real relationship between Billy and I when we write together, and now it’s a relationship out of wedlock, as we say, but it’s an affair that’s got a lot of dynamism in it and has a real place in the world. There’s also a little piece of what would have happened if we’d met in 1983… and put our resources into each other at that time. I know I have to walk away from this at some point again because Billy’s too good not to be in The Cult. The Cult are one of our generations greatest bands, and he belongs in The Cult. I just have to appreciate that I’m lucky enough to have him in my camp when I can and make the most of it! The only thing missing from the song is the answer because we all know it has to happen.”
‘Action’. “A Lot of Coloursound material happens because Billy challenges me with an amazing guitar riff, and I just said to Billy that I was going to throw some lyrics at him, and then you see what music you’ve got in your consciousness or memory banks that might apply. I think The Cult start around Billy’s riffs or Ian’s musical mood. I don’t think they start with the lyrics first when they’re writing. So this was a role reversal, and ‘Action’ is what came out of that. Billy is a fan of The Stooges, Ron Asheton, Johnny Thunders, New York punk, and it’s got that kind of swagger to it that you get from being a fan who was there at the beginning. We were both (separately) at the Iggy Pop gig at Manchester Apollo when Bowie was on keyboards. It influenced us massively; Iggy with his top off, with leather trousers on and Bowie on keyboards it was an incredible gig, and Blondie was the support band…That instigation into music in us both we both love Slade and Glam, but we also love that New York Punk scene.”
‘The Other Side.’ “Again, that’s another Billy riff; it’s a little bit ‘Search And Destroy’. Billy and I are both football fans, and we follow teams from the opposite side of Manchester, and I wanted to write a song… We’re different but very alike. We want to be inspired by each other and explore our differences that bring us together as Coloursound and as friends.”
‘Start A Fire’. “This was a song from Billy’s songbook; he started the whole song, really. Again, he played me the tune he had, and it was quite high pitched, so I said, why don’t we try this on a baritone guitar which I learnt through doing acoustic shows. Billy really took to the guitar, and I think it opened a new world to him in terms of the tones he could get from the guitar and also where the singer could pitch himself over Billy’s guitar playing style. When we had a body of work, I said, unlike last time, I’m not going to play rhythm guitar. You’re gonna play it all. To adhere to you and your vision. The listener can only hear Billy Duffy playing the guitar; you don’t want to hear Tony Iommi and then have Ozzy playing the guitar underneath, filling all the space. So I just stayed out of the way. One of the guitar solos on ‘Start A Fire’ highlights Billy’s versatility because it’s such a great solo, and you wouldn’t normally associate Billy playing like that in The Cult, which just shows how dextrous he can be.”
‘Eye For An Eye’. “Another Billy Duffy-meister riff, and I hear it as an out and out rock song. I think was trying to channel a bit of my inner Jack Bruce. It’s a bit of a Cream number. We spoke about making a simple rock album, and what’s better than that seventies British rock period Sabbath and Cream and then from America we both love Montrose, and I wanted to sing it in a way that you don’t normally associate Mike Peters with singing either. It’s quite high-pitched, and it demands a big vocal and a big roar. (laughing) Fill the lungs and go for it! Lyrically it was inspired by the music. I didn’t want it to be too introspective, and I wanted it something you can sing live, plus the fans could relate to it as well. Eye for an eye, a tooth for a tooth is kind of what we do, Billy and I. When he presents me with a riff, I want to extract everything I can get from this and give as good as I get. I feel I’ve got to raise my game to play alongside Billy and have the honour to sing with him. I’m a massive fan of Ian Astbury. I think he’s an incredible talent, and I have to think about what The Cult fans will think when they hear me singing with their man, y’know and The Alarm fans as well. I wanted there to be some surprises for Alarm fans. I can sing like this because there is a different guitar dynamic going on that inspires a different performance from me, and I think I’ve also taken Billy to certain areas that he wouldn’t usually take in. That’s the beauty of Coloursound and our relationship.”
‘Mourning Call’. “When we’d finished, this is a song that we couldn’t get out of our heads. It has this amazing droned in Billy riff that was almost echoing the chorus. It was so catchy it was almost too good. I thought the song was too melodic for the record we’d done, but it just felt like we needed to approach it very differently by the time we got to that part of the recording process. So we sacrificed quite a lot of its original conception and turned it into something a lot more interesting and deeper. Originally I called it ‘Morning Call’, but Billy sat down and said, Mike, this m-o-u-r-n-ing call, let’s take the song in that direction. That’s another example of Billy being able to look at you as a lyricist as well. He can cast his eye over what you’re doing and spot little nuances and turn the song from night into day or, in this case, day into night.”
Kiwi rockers THE DATSUNS have announced the release of their own limited edition guitar pedal in celebration of the release of their recent new album.
The Eye To Eye shares its name with the album – the band’s first in seven years – and is an all-analogue phaser, hand built by guitarist Christian’s London-based boutique effects company Magnetic Effects.
“The Eye To Eye is a 4 stage OTA-based phaser capable of many shades of phase including slow and swirly though to fast and intense,” they say. “Each Eye To Eye pedal is hand built by Christian in London, England.”
Check out the Eye To Eye and the full range of Magnetic Effects here.
The band have just released ‘Dehumanise’, the third single to be taken from the album, accompanied by a video shot by renowned film director Sam Kristofski. Says bassist and singer Dolf Datsun, “‘Dehumanise’ is another Sci-Fi inspired number, about being literally stripped down to your utilitarian parts by the machines and machinations around you. The main parts were written on tour, opening for Graveyard in Europe some years back. I was listening to a ton of heavy 70’s rarities at the time, sampling their drum intros in Garageband to make demos. This one features more custom fuzz guitar FX courtesy of Christian and also my first attempt at a synth solo, wild!”