Forever snarling: an interview with Charlie Harper of the UK Subs

Charlie Harper

Since its emergence in the latter part of the seventies punk rock has spawn some of the most influential and impacting bands which no one more essential to fans and the genre than the UK Subs. From 1976 the band and its founder Charlie Harper has been a driving force for subsequent bands and the genre itself over the years and as their new album XXIV shows, the band has not lost any of its strength and hunger to stretch themselves and punk, in fact they just get better and more inspiring, an incredible feat for a band well into its fourth decade, though its seeds goes back further. The RingMaster Review had the pleasure of finding out more about how the band, its ability to stay so essential, and about their twenty fourth album XXIV, by having the distinct honour of firing questions at Charlie… and this is what he revealed….

Hello Charlie and a big welcome to the site, many thanks for sparing time to talk with us.

I have to start with the obvious question of how has the band retained its hunger over the past forty years or so and as your new album shows, equally stayed fresh too?

Well…thank you Ring Master…we just have this will to have fun with the music and make it as exciting as we can.

I am aware of keeping it “fresh” but it’s not something that we work on, I suppose it’s because we spend so much time in clubs where I listen to all the other bands on the bill and I listen to what they do wrong, as well as the good stuff. We have done so many LPs  but we are just beginning  to use a studio, we also have a 5th member by the name of producer Pat Collier, we have worked together,  mostly on than off for so long now.

As we mentioned it let us talk about your excellent new album XXIV. I am sure you will not disagree that is your finest work in quite a while but what for you makes it stand out above your other strong releases over the past years?

It has more power than the previous records; I left a clue in the last track of “work in progress” in Robot Age.

There is a rich eclectic flavouring across the album brought with the expected UK Subs passion. Has this use of other musical influences been brewing up in the band and its songwriting for a while now or something you sat down and purposely filtered into XXIV?

No, there is nothing planned. We will write a bunch of songs, say 6 each and just pick the ones we think are best, this time Alvin was the first to come up with a couple of gems and set the bar very high, it was a big challenge.

There are some fine punk bands and releases around right now in the UK but arguably few seem to have the thought or want to explore and use the resources available through other sounds within rock n roll to vary their sound as you have shown upon XXIV. Do you feel the album could be a catalyst which might get some genre related bands to rethink their musical thoughts?

I don’t think so, among our contemporary’s, were bands like the Damned and Stranglers, it was all about songs. Bands now seem to go for style, same beat same sound same growl but hey…they said that about Elvis.

The album is a twenty six track feast of nothing but impressive and impacting songs. It is hard to think of many albums with such a number of songs where all have such strength and richly rewarding presences, the lack of ‘fillers’ refreshing; at what point did you personally realise how potent the album would be?

Potent is a good word and music is a powerful medium. I learned a few trick with those three chords, the killer is the one, very few people are aware of, because it’s invisible but whether you play live or on record, the first chord on a follow up song, has to be compatible with the last chord of the previous song, if it’s a good match, it will give you a high, if it’s a bad match, it can bring you down. We have to go with this, as our songs are in rapid succession.

 Is there any predominant theme or emotion which has fuelled or shaped the album?

Yes there was. It was the present conflict of the new and ancient world.

The Icon with the machine gun (baby Jesus gone) is a clue

You are a band which obviously writes for your own satisfaction and creative invention, so does it frustrate you when other bands within punk rock especially, create their sound and then almost use it as a uniform across each subsequent release thereafter, or do you only concentrate on the band and its imagination within the genre?

Well…take a band like Crass, they took that ridged uniformity to the limit but they were great. It takes all sorts and yes we just go on our merry way. I do encourage young bands to be different and find their own way

Do you think some bands underestimate their audience’s and their own adventure in taste and need, carry a fear to try new things?

Many do but there is a new batch of young musicians who are a little more brave, and that is pretty key, you have to have a musical bravery

The UK Subs seems to have found a new leash of life in many ways over the past two albums, the new release evolving the first ‘new breath’ found on Work In Progress. Is that a fair comment?

When Jet joined the band and we did the first album (Work in Progress) with him, it really felt like a new beginning and along with our not so ‘secret weapon’ Jamie, who contributed so much and Alvin coming to fruition as a major song writing force, we have the feeling that we are only just starting but that is very true of the acoustic side, we are absolute beginners.

Has this new energy to call it something, with no disrespect to past members, come in some way from the stability of the current line-up of the band since I believe 2005?

Be careful, when anyone talks of stability, things seem to happen. One drummer had a big tattoo across his chest, it said ‘Loyalty’, he left the band soon after but he has been with his present band for ten years now.

With the whole band having involvement in the core songwriting of different songs in different combinations, how does the songwriting process generally happen within the band?

Your questions are much too serious and prodding, I’m giving away all our little secrets. Well…it’s a nightmare, I was supposed to write all the lyrics but as I said before, Alvin is doing some major work, which gives me a breather. I tell the guys to keep it simple but they don’t do simple. I told them write one song for the next album, a Jet song and a Jamie song, they will struggle but I will find a way, Jamie is the best singer in the band but he is very shy, Billy Idol was just the same. Jet will sing in Japanese, some of that Japanese hardcore is amazing.

One suspects that there is an open approach within the band to ideas from the other members not involved in the original creation of particular songs as they evolve for recording?

One is right, you should pop down for the next recording your input would be much appreciated. I always look for somewhere to stick some backing vocals (B/Vs)then Jamie goes out to the mike and just does magic, mine are a bit oi.

The album also includes twelve acoustic tracks which I must admit took us by surprise in the best way possible; when did the idea to do this emerge or was it the intent from day one?

The acoustic idea was around a while, we were all writing songs but it was going to be another release but Captain Oi asked if we could put it on this release as an extra. We were not quite ready for that but we did our best. As I said we are just beginners but we write most songs on acoustic guitars, and we did the CD within the day.

Was the acoustic idea something to challenge yourselves or your audience more do you think in hindsight?

Definitely a challenge for us…I’ve played a couple of Subs unplugged, they go down very well but again, Jamie’s songs were a big challenge, Alvin took one and I took on the other, Alvin came out with the very spooky “Confessions…” I had just got back from Oslo where I was at the Puberty exhibition by Edward Munch; that was my inspiration for “Metamorphosis”.

What was the reaction towards the acoustic tracks even before people heard them and now after the release?

So far the reaction has been good, we have always dabbled with acoustics so it’s not so very new, we use the old sea shanty “Drunken Sailor” as an intro, it has a raging fiddle played by Simon Some Dog and the Subs.

Will you be taking this approach and tracks into a live setting at some point?

We were playing “Detox” on the last tour; we hope to add the “Coalition Government Blues” song and hopefully a few more.

Is there any particular moment on XXIV which gives you the strongest tingle of satisfaction?

There are a lot more on this album than most others we’ve done. As I said before, the B/Vs are my babies, as far as I am concerned , Jamie really nails them down, then there is the outro of “Black Power Salute”, the outro of “Implosion”, the noise guitars on “Failed State”, and some intro’s that I don’t remember right now and it’s the wee hours, I can’t play it.

The next day…

And anything you would have changed or tried differently now looking back?

That’s hard to say, we never get enough time in the studio and like it like that. Its nose down to the grind and making sure that we all have their stuff worked out before we walk in that day but the best laid plans… always go tits up. I hate things over produced but the early stuff is pretty horrific, right up to ‘Endangered Species’.

Yourself Charlie, and the band was inspired by The Damned back in 1976 but are there any bands or artists now who have impacted on your new ideas in regard to songwriting or sound?

I’ve always loved the Ramones, that simple back beat, the sound of the distorted Mosrite, Joe’s vocals, perfect.

I’ve always wished to write like Iggy but my style is completely different, it’s easier to write your own than try to work out somebody else’s stuff.

What is on the near horizon live shows wise of the band?

A UK tour in May. We will add more songs from the new album but no less old ones.

Once more very big thanks for sparing time for us. Any last thoughts you would like to share?

Just a big thank you, to all our followers and fans. We really do appreciate the support over so many years.

We have always found time to have a chat over a pint and some have become very close friends.

If there are any budding musicians out there…Go for it! There are ups and downs but it’s worth every mile.

And lastly once the band has released an album for every letter of the alphabet what comes next….

Hey let us get there first but we will still be on the road. I will just be too old to remember new songs.

Read the review of XXIV @ http://ringmasterreviewintroduces.wordpress.com/2013/03/12/u-k-subs-xxiv/

Interviewed by Pete RingMaster

The RingMaster Review 20/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Shriek: Self Titled

The undoubted bastard sons of one unholy union between Misfits, The Ramones, and Calabrese with The Damned looking on with hellish mischief, US horror punk band Shriek is a band where once bitten by their insidiously infectious sounds a feverish addiction is inevitable. Such is the potent reaction after being devoured by their self-titled album, a release giving a fresh snarl and contagion to recognisable yet fully invigorating rampages of horror.

From Cincinnati, Shriek formed in December of 1998 to follow The Vladimirs as the only successful horror rock band in the city. As the band built a formidable reputation for their blistering live performances and riotous death drenched songs the band went from being a trio to expanding into a quartet and then back again whilst continuing to build a devoted fanbase and recognition in the state and further afield. A brief hiatus occurred in 2004 before the band returned a year later with more changes before their most recognisable line-up of band founders vocalist/guitarist Greg Gallows and bassist Ryan Stone alongside guitarist Josh Thompson and drummer Steve Cox emerged in 2008. The departure of Stone in 2012 was the last change and in many ways a new era for the band with Sean Sleaze coming in on bass whilst Derek Dargum also joined to add his guitar skills.

The intro Enter At Your Own Risk opens the door to the album with expected menace and foreboding , its slow crawl guiding one into the shadows and hungry energy of Corrupting the Youth (with the Truth). An urgent punk riot of thumping rhythms and enjoyably grazing riffs, the track is an immediate anthemic lure with the vocals of Gallows an addition temptation to join the cause vocally and with feisty limbs.

From the irrepressible start tracks like the stomping Walk Again and the ravenous Vampire with its classic metal whispers grip the passions with their arguably traditional horror punk claws whilst the psychobilly seduction brought by Back from the Dead enflames the ear to spark an additional ardour with its melodic flames and slightly lumbering gait. It would be honest to say the album does not offer anything openly new for the genre but there is no doubting its accomplished and impressive sadistic charms which sets the band apart from the majority of horror punk bands.

Into its stride the album continues to impress and gets better deeper in to its mausoleum of fun you go. As thrilling and inviting as the release is heading into the core of its heart it reveals with relish even greater triumphs in its latter half starting with My Girlfriend’s a Zombie. With the guitars tightly reining in their energy to offer a fire of sonic compulsion and the drums thrashing the ear with enthusiasm the track is another catchy temptation for the listener to add their companionship in voice and limbs to, though to be fair each and every song achieves that submission. The song is immediately followed by the best song on the album, Lycanthrope. The song is immense, a storm of savage riffs and equally threatening rhythms undermined by the sheer addictive call of the chorus. Combined it is a virulent persuasion which rivals anything the Misfits have offered over the past couple of decades.

Freddy’s Dead has a stronger punk voice to its malignant scourge which for its brief minute and a half coursing through the ears with a predatory breath whilst the necromantic love song Closed Casket Romantic is a smouldering blaze upon the senses with an uncomplicated decayed emotive caress. Both tracks add further pinnacles to the deeply enjoyable release soon accompanied by the enthralling bruising enticement of Haunted House to leave one in a flush of ardour and invigorated satisfaction.

The band saves one final impressive high with Night of The Creeps, a track which sounds like Danzig in an invasion of the soul with Blitzkid and Necromantix. It is a rabid coating of abrasive energy and once more submits an irresistible entrapment of the senses and heart through its anthemic chorus and serpentine hooks.

Shriek is a band which certainly through their album, does not take long to recruit the passions to a long term agreement with their rampant sounds. The release is one of the most exciting and pleasing horror punk releases in a long time and the band a sure soundtrack to your richest nightmares.

Website               http://shriekcreeps.com

https://www.facebook.com/shriekhorror

8.5/10

RingMaster 10/03/2013

Listen to Shriek and the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Caskeeteers : Go Cadaver, GO !

Every now and then we look back at an album which readers may have missed but certainly deserves a look at as we search out the beating heart of the underground in all its shades. Such is the case with Go Cadaver, GO ! from US ghouls The Caskeeteers, a riotous brawl of an album which brings mischief, antagonism, and unbridled revelry from the land of the dead.

Formed in 1998 by upright bassist and vocalist Ritchie Dead, the band from Salem, Oregon has brought a scourge of psychobilly and horror punk to the breathing and expired earning hungry acclaim and decomposed lust through their impressive live performances and previous releases Dead Things and Tales From The Casketeers. The band has ‘buried numerous members’ as line-up changes added to the mayhem but with guitarist Gorey Hackerman and drummer Brian Terrible alongside Ritchie Dead, The Casketeers has hit their finest glory to date with the Psycho A Go Go Records released Go Cadaver, GO !

The album opens up its tomb of gore first with Carnival of Souls, an initial church organ beckoning and vocal revelation coaxing the ear into a stroll of bass persuasion, fiery guitar sonics and punchy rhythms. The brief welcome is soon a stomp of greedy riffs, eager beats, and inciting slap bass provocation. It is a keen and easy going track which though it falls short of igniting major sparks inside makes for a more than decent start with its scorching solo, boisterous vocals and harmonies, and rampant breath.

To be fair it is because of the quality of the rest of the album that the song and arguably a couple of other tracks pale slightly in comparison but that is the price to pay when including tracks like Wreck-n-Roll on your release. Sparking the ear with deep throaty bass plucking and a squall of vocal raucousness, the song swaggers with steaming blues guitar teasing and a resonating pulse which paws and coats the senses with expert temptation. Imagine Stray Cats and The Ramones in collusion with Johnny Burnette and you have this flaming uproar.

Tracks like Haunted Forever with its Generation X like rebellion and the seductive beat shuffle Killing Me Killing You continue the increasing strength of the album, a release which just gets better the further in to its shadowed depths you go.  The carnivorously strutting From Flesh To Bone as it sends the ear and passions into an excitable frenzy is a prime example whilst the following title track is like that boisterous best friend which with anthemic egging on leads you into a bruising errant display of behaviour.

The final four songs find album and band at its best, King Of Zombies leading the aural and passionate devilment. With a virulent contagion and sultry mid-song seducing, the song is psychobilly to commit adultery over, a delicious unquenchable lust with rewards that leave the heart breathless. From the throaty glories of the upright bass, the snapping rhythmic provocation, and the feverish guitar taunting in the song and album overall, The Casketeers is a primal inducement set free.

Among the Living is the most ravishing slab of excellence on Go Cadaver, GO !, the leading bass slaps and brewing sonic restlessness irresistible, a reaction which intensifies once the song spreads its muscles and devious addiction forming charms. Like all the tracks it is an immediate anthem for the instincts and soul which leads into unsolicited rapture and furious deeds of desecration, mentally and emotionally.

With the mutually scheming No Remorse, its dominant bass lick, barbed hooks, and cunning rhythms greedy and unrestrained, and the closing furore Sore Loser finishing off what is fully thrilling and invigorating release, Go Cadaver, GO ! is an unapologetic romp of death driven rock n roll. The album with extra whispers of the likes of Misfits and Volbeat to those flavours already mentioned, is one of those treats you instinctively return to and inspires eager hope that we see The Casketeers returning with more grave borne sounds soon.

https://www.facebook.com/pages/The-Casketeers/169521496422613

http://psychoagogorecords.com

7.5/10

RingMaster 27/02/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Dark corners and caustic intent: an interview with Varicella

A maelstrom of ravenous intensity and demonic caustic caresses, the debut EP from US industrial band Varicella has brought an uncompromising destructive start to the year. Released through the impressive emerging underground label Bluntface Records, We Belong Dead was a predator of old school eighties style industrial which experimented with and pushed brawling sonic boundaries. Taking the opportunity to find out more about the project through founder Chris Bollinger and guitarist Chris Pasquarelli, we looked at the release, the origins of the band and horror movies…

Welcome to The RingMaster Review and thanks for talking with us.

Varicella – Thank you! And thanks for giving us the chance to talk with you! We appreciate the opportunity.

For the uninitiated, tell us about Varicella, its beginnings, and the inspiration for the project.

Chris Bollinger – Well this is going to be a “really” long story, and I will try to shorten it as best I can, LOL. Varicella is at the moment, a two person industrial/metal/electronic dance music/experimental band. And when I say at the moment, I mean, that we did have a bassist who also did some synth work. He was responsible for a decent amount of what the band sounds like now. But sadly, we had to let him go from the band, and that’s all I’m going to say about that. We do hope to add a live bassist and drummer at some point, but it is hard finding the right people who fit and so forth.

As for the beginnings of the band, well as it states in our BIO on Facebook or Reverbnation, I started the project back in 2008. I’ve always wanted to do an industrial type of band, even when I was in high school back in 2000/2001. I just never found anyone that was on the same page as me or liked what I liked. But anyway, I started this in 2008 and did a few things wrote a few songs, some are on our We Belong Dead EP actually. We just updated them. Then I had to put it on hold because of to many people coming and going. I mean, I think I went through 4 or 5 guitarists until I found Chris Pasquarelli. I posted several ads online and for about 2 years, I never got an answer or I did but their style didn’t fit my style, or they wanted to do the more aggrotech / terror EBM style of industrial and I don’t want to do that. So it was a super long time between people. And during that our old bassist answered one of my ads. We talked and began to work together over the internet with a site called Soundcloud. At the time he was working a job that was 3rd shift overnight and I work a standard 9 to 5 type of job. So our schedules were completely opposite. But I’m determined to do this so things got done! LOL. Then as I mentioned above I found Chris Pasquarelli, through Facebook no less, LOL. We both were clicking like on each other’s posts or comments, and then somehow he saw I did music and said we should jam. I was really impressed with him. That was last April and he’s been in the band ever since that first jam. Yes, he’s that good!

As for the inspiration, I’d have to say just my love of the old 80’s and early 90s industrial, bands such as Ministry, KMFDM, Skinny Puppy, and Frontline Assembly. And then on top of that I love White Zombie and Nine Inch Nails, and thrash metal type of bands like Slayer, Testament, Megadeth, Pantera and other hard rock or punk bands like Alice in Chains, Danzig, Tool, Filter, Misfits and The Ramones. So, I just wanted to do something that was in the vein of those bands/artists but not a direct rip off. I wanted to make heavy dance music. Songs that have a heavy dance beat that’ll make the girls shake their asses to it, but at the same time it has a thrash metal guitar part or groove to the guitars that’ll make the dudes head bang to it. Hopefully that makes sense to anyone out there. LOL.

What was it about music which you felt was missing and leaving you cold as a listener as well as a musician, when starting Varicella?

Chris B. – Pretty much as I said above, everyone was making the all synth based aggrotech / terror EBM type of industrial, and I didn’t want to do that. I have nothing against it and I like most of it. I listen to Combichrist, Psyclon Nine, Imperative Reaction, Wumpscut and other various bands that have that sound. It’s just not the type of music that I wanted to do personally. And I think that made it harder to find a guitarist too, because that style is really popular right now. The style we do is not popular. Which does make things harder but at the same time, we can transcend a few genres of music and play with different types of bands. Which I find pretty cool! LOL.

Chris Pasquarelli – When I joined Varicella last April I liked the music, but I wanted to make it heavier and more edgy. Most of the songs had basic plug-in computer guitars which the typical computer programs use and I liked it but I didn’t like how noticeable it was that it was not recorded by real guitars as opposed to computer guitars. Within the last 9 months I’ve been in the band I can say that I am really happy with the overall sound our music has with my added guitar and bass tracks.

Was this music in general or more the industrial/electro genre you did not find a connection with?

Chris B. – I’d say yes, mostly in the industrial/electronic genre, but I’ve been a little bored with the rock and metal genre too. Not much is catching my attention in the rock and metal genre. There are a few “really” good bands in the all of those genres, but you have to weed through thousands of copies or clone bands to find the 4 or 5 good ones. It’s tough.

How do you feel about the scene and music now we stand in 2013?

Chris B. – Pretty much the same. Some things have gotten better. Like, it’s easier to spot the better bands versus what I call the “bedroom” bands. These are people that just sit in their homes, make and release music, but never play a live show. Ever! There were a massive amount of them back in 2007 to 2009. Maybe even before that. I’m not 100% sure. But now, it’s about 99% easier to weed through and see those types of bands. And I’m not knocking those people. Some make very good music. I probably own some, LOL. But it’s just not what I want to do. I want to actually see the fans and talk to them and so forth, not sit in my bedroom and stare at a computer monitor.

What are the biggest influences which inspires your sound?

Chris B. – Ministry, mostly the early stuff, Twitch, The Land of Rape and Honey, The Mind is a Terrible Thing to Taste and Psalm 69. Those 4 albums blew my mind and still amaze me. I can’t believe Al and Paul did what they did at that time. It’s amazing! KMFDM, almost anything they do is great! Same goes for Skinny Puppy. Got to love Ohgr too! And then White Zombie, La Sex and Astro Creep are two great albums that shaped my teenage years!

Chris P. -  Behemoth, Deicide, At The Gates, Cannibal Corpse, Cradle Of Filth, Children Of Bodom, Burzum, Darkthrone, Death, The Black Dahlia Murder, Cryptopsy, Anorexia Nervosa, Nine Inch Nails, Orgy, Deadsy, Psyclon Nine, Dimmu Borgir, Marilyn Manson, Static x, Old Mans Child, SOAD and many more!  As far as my sound goes I’m influenced by many bands, I just try to make the heaviest guitar and bass lines too fit our songs.

The early days were unsettled for the band I believe, through line-up problems? Was this the reason for Varicella going on hiatus or actually at the time was it the end of the band? 

Chris B. – They were. And I think I quit about 4 or 5 times. Gave up and stopped all together type of quitting. I was just really frustrated, and things were going nowhere. As I said, it was about 2 years before I found Chris Pasquarelli on guitar

Varicella reformed/re-emerged in 2011, what was the spark that made that the time to bring the project back to active life?

Chris B. – Skinny Puppy. Skinny Puppy came out with a new album called “HanDover” back in late 2011. Also Ohgr released another one of his solo albums early in 2011, called “undeveloped”. And I just said, fuck it, these are super good, I need to get my shit together, and get this project going! Especially “HanDover”! It’s over a year later and that album is still constantly on my iPod.

Chris P. – I was still in high school when I joined and I was in several other projects at the time when I joined Varicella. I’ve been serious about music for most of my life And I felt frustrated with a lot of the people I jammed with at the time because no one else was as into the band thing as I was until I joined Varicella, so I was really excited to be a part of a band which was serious about their music.

 Back to influences/inspirations, which predominantly spark and shape your songs and lyrics, the areas which ignite your ideas?

Chris B. – Movies, mostly horror and sci-fi movies. TV shows, comics and/or graphic novels. You wouldn’t think it, but Doctor Who is another spark that started two songs lyric wise. And one song music and lyrics, called “The Sound of Four”. And then there are some ideas that come from real life experiences. Like the song “Obsessed with flesh”.  The lyrics in that song can be applied to anything where a person feels they are being used and/or abused. But the major theme of that song comes from a person I wanted to date, but she didn’t want a steady boyfriend or a relationship. So we were just friends with benefits. After a few months of that she all the sudden stops talking to me. I can’t get a hold of her. She doesn’t want to hang out let alone do other stuff. Then a few weeks go by, and I find out she’s in a relationship and that’s why she just dropped me. I was fairly pissed off, and felt a little used. Same goes for the song “All Hail”, that’s sort of my views on brutal honesty with a little jab a religion. I’m a brutally honest person and a straight shooter. I just think we all spend too much time putting up a front or wearing a mask for certain people. It’s ridiculous.

Chris P. – As far as our music goes guitar and bass wise, I kind of do a Marilyn Manson, Nine Inch Nails, Static X guitar and bass meets extreme metal vibe. For example in our song Mind Fucked I wrote a melodic guitar rhythm that a stripper could dance to, and metal heads could throw down too and fuck each other up in the mosh pits too as well. This has been a huge influence in writing for me, and I’m not exaggerating at all. Every time I right new material For Varicella I always keep Strippers and mosh pits in mind.

You have just released your We Belong Dead EP via Bluntface Records; does this contain all new tracks or material with seeds and feet from the earlier presence of the band as well?

Chris B. – A little bit of both actually. The songs Obsessed with Flesh, All Hail were written back around 2008. Of course they were updated to match the other songs that were new, specifically the song Obsessed with Flesh. There’s this sort of machine type sound going on with the guitars. That’s from the way Chris Pasquarelli plays the song. He bends the strings a certain way at a certain time to get that specific sound. That’s all him! So if we had a different guitarist that didn’t play it that way, it wouldn’t sound that way.

How long did the EP take to create and how far did it or songs evolve from the initial ideas?

Chris B. – It didn’t take too long actually. Most of the blue print was laid out in 2008. We just updated some things here and there as I said. We started working on these songs in late 2011 and finished in the fall of 2012. Obsessed and All Hail didn’t change much. Chris Pasquarelli just added his own style to them. The Sound of Four came together very quickly! Music and the lyrics. I think it was done in only a few months. We Belong Dead went through a few changes. LOL. The original idea came from our old bassist Tim. I just sort of took the synth sound, and remixed it adding in other elements. I went through about 4 versions of that song until we hit on a verse / chorus / verse pattern. But it didn’t become what it is now until Chris Pasquarelli joined, and added the guitar riff that grooves over top the synth part in the verses.

There is a cinematic feels to your tracks on We Belong Dead, a visual ambience beyond the lovely corruption of sound and breath. Obviously it has seeds in the influences to songs you mentioned earlier but has it been a natural result of your personal interests or something you have crafted intentionally?

Chris B. – Thank you very much. I would say this is not intentional, at least on a conscious level. I mean, I try to create songs that have multiple meanings on multiple levels to them. This is why I like to add in certain Movie or TV show samples. They help me to tell the story of the song better. Or they reference things in my lyrics.

What are your hopes for the EP in relation to opening up future opportunities for the band and is there a particular moment or track on the release which is Varicella at its purest, where its heart is most open?

Chris B. – Well first and foremost this EP is a stepping stone to our full length release that’ll be out something later this year, probably fall or winter of 2013. We also hope this EP will help us get any attention to tour or play more shows. We’d love to do a tour! Even if it is just a small 2 or 4 week local tour. Of course a bigger 2 month or more tour would be great too!

Varicella at its purest? Not sure. Obsessed with flesh is pretty personal. As I mention above, that one involves a bad relationship with a girl. The Sound of Four is about feeling like you don’t exist in this world, so maybe those two songs. They might not sound like it, but most of my lyrics are real and from the heart.

Chris P. – I’m hoping this EP will open more doors for Varicella by getting us more fans and shows etc. I agree with Chris I think Obsessed with flesh is pretty out there in terms of being us at our purest.

How did you and Bluntface link up and what have been the benefits already from their support and presence?

Chris B. – Johnny from Virus Cycle had an open call for bands on his compilation last summer. From there, I saw that Otto was doing another compilation through the Bluntface site. Otto remembered our song and dug our sound, and a few months ago he sent me an email. He said the label was expanding, and asked if we wanted to join up with him. It seemed like a really good offer that we didn’t want to pass up. So we agreed.

There have been a huge amount of benefits! We’ve had internet radio air play. The review of our EP from you guys, and a few other interviews, and we did a “live” on air interview on 13SRadio.com. We also have another one that we’re doing at the end of this month. Everything Otto said he would do for us, he’s doing! So we’re extremely happy.

How are you managing to promote the EP and are there live shows happening or planned?

Chris B. – We’ve been promoting it on the various social media networks, Reverbnation, Facebook, Twitter, and a few other sites. We’ve been playing shows since last October when we opened for My Life with the Thrill Kill Kult, Left Spine Down, and Panzer Division. Left Spine Down said we were loud and they liked our cover of Ministry’s Burning Inside. Since then, we’ve had a show every month, except for December, we played two that month. We’re taking February off to write and record some songs for the full length album. And we’re playing a show on March 23rd in Philadelphia at Motel Hell. Details are on our Facebook page

There are plenty of opinions from artists within industrial and its plethora of varied corners which say there is a current curse of backbiting and disrespect within the genre between musicians and those involved, how have you found the situation personally?

Chris B. – There are a few bands and people, not exclusively in the industrial/electronic music genre, that have been disrespectful to us. It does bother me at times, because it’s usually from bands/artists that think they’re bigger than they are, but they’re not. They have this ego trip and they act like you’re beneath them. It’s sad actually. And we try to not be like that. If you’re cool with me, then I’m cool with you, simple as that. But that’s just how it is, and it’s the same with the movie business. Everyone’s two faced. It doesn’t matter if you’re a local band or a huge touring band. You will run into a few that are like that.

Is there anything, band or releases, which have captured your imaginations recently and added extra flavour to your thoughts and ideas for your next compositions?

Chris B. – Wow, good question. Not too many “newer” bands. There are some bands that have been around for a little bit that are releasing newer albums. Dawn of Ashes, KMFDM, Skinny Puppy, Alice in Chains, Megadeth and Filter. I’m a pretty big Filter fan. Their last album “The Trouble with Angels” was really great! Still listening to that. Testament just released a very good album. Frontline Assembly and Tweaker also just put out newer albums. Even though FLA is more of a soundtrack, it’s still very good. Been listening to the “Tron Legacy” score by Daft Punk off and on for a few weeks. All of those keep my imagination going. Especially the “Tron Legacy” score. That CD just amazes me! It’s really good!

What is next creatively for Varicella?

Chris B. – We are currently working on our full length album. It will be all the songs from the EP plus about 5 or 7 more originals and maybe 2 or 3 remix songs.

Many thanks for sparing time to chat with us, any last thoughts you would like to share?

Chris B. – Thank you for giving us this opportunity. We appreciate it very much! Last thoughts…just check us out on Facebook or Reverbnation. Go to the Bluntface Records site and check out all the great bands there! If you haven’t already, please download our “We Belong Dead” EP. And thanks to everyone who’s helped and supported us along the way!

Finally, you said horror movies are big elements in your personal loves, so give us three films which are engrained in your passions to the extent you know lines off by heart.

Chris B. – 1) The Evil Dead films and Army of Darkness. Classics in my book and Army of Darkness just has so many great quotable line! 2) Almost all of the John Carpenter films, even the movies that are not horror movies. The Thing, Halloween, Prince of Darkness, Escape from NY, Big Trouble in Little China, In the Mouth of Madness, and Christine are some of my favourites of his. 3) Hellraiser 1 and 2. Those movies together feel like one really long awesome movie.

Chris P. – I’m right on board with Chris Bollinger’s horror movie tastes especially with the Hellraiser and Evil Dead Series. Some of my favourite horror movie quotes are Evil Dead 2’s “groovy” right after Bruce Campbell put a chainsaw where his possessed hand used to be, The priest’s quote “I kick ass for the lord” right before he fights zombies in the grave yard with his bare hands in Dead Alive and Lastly Chop tops “Oww my plate! My brain is burning nom flashback NOM FLASHBACK!!!!!!” from Texas Chainsaw Massacre 2.

Read the review of We Belong Dead EP @ http://ringmasterreviewintroduces.wordpress.com/2013/01/07/varicella-we-belong-dead/

https://www.facebook.com/pages/Varicella/310239362321042?fref=ts

http://www.bluntfacerecords.com

The RingMaster Review 26/02/2013

RingMaster 26/02/2013

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Mighty High: Legalize Tre Bags

With enough references to and celebration of weed to make The Kottonmouth Kings appear like The Osmonds the eagerly awaited second album from Brooklyn rockers Mighty High is let loose June 12^th through Ripple Music. Fully mischievous, completely fired up and an unbridled dust bowl of sonic rampage and energetic guitar infestation, Legalize Tre Bags leaves thrilled and welcomingly assaulted. It carries no pretence, it is what it is and the band does not give two flying nuns on a day trip to a candle factory what anyone thinks. Most of all it is insatiable rock n roll, a posse of exuberant songs set on senses rustling.

Legalize Tre Bags follows up 2008 debut album …In Drug City which with the following Drops A Deuce 7″ single in 2009 and a 7” split with Stone Axe gathered strong acclaim. The release also marks the tenth anniversary of Mighty High and sees the quartet of Woody (vocals, guitar), Kevin Overdose (lead guitar), LaBatts Santoro (bass, vocals), and Jesse D’Stills (drums) as able as ever to raise hell and live high and vice versa as they return with an album sure to incite further shouts and puffs of praise.

With the title referencing the once available $3 bag that could be scored at all the best dope spots in the Bronx, Legalize Tre Bags hits the sweet spot from the off with I Don’t Wanna Listen To Yes, a Ramones toned ear puncturing of punk rock. With barely enough time to take a breath it splatters the senses with attitude drenched rock n roll to wake up and ignite attention for the excellent following Mooche. With a hypnotic bassline the track roughs up the ear with a Beastie Boys meets Black Flag attack punctured with scorched veins of classic metal to add extra electrified heat to its mesmeric swagger.

The great start is continued with the stoner fuelled The Ram, its smoked cloud of scuzzed guitars and enveloping energy an all pervading mesmeric wrap lighting up more than the senses. It is a track like many on the album which in its simplicity still twists and turns to great and infectious effect. There is nothing trying to open new musical doors or set down unique markers within song and album as a whole, but Mighty High still stand relatively alone with their irrepressible and carefree sounds.

With tracks like the outstanding contagious Tokin’ N Strokin’, a song about the life and death of David Carradine, and Southern rock saunter Cheep Beer, Dirt Weed the album ignites the urge to become one with the release in any way one feels fit. Add the Dead Kennedys like Drug War and the tour of all 5 boroughs of New York City with Come On! I’m Holdin’, not to mention the slightly schizophrenic Chemical Warpigs and there is nothing but fun and good times to be have each and every minute of the release. The last of these songs brings a Motorhead, Suicidal Tendencies, and Sabbath like mesh into a psychedelic blistering of the synapses.

Legalize Tre Bags is a raucous feast of punk, weed, and middle finger attitude, most of all it is a deeply satisfying slab of rousing rock n roll. It offers nothing particularly new nor tries to inspire an unexpected awe but it is still one of the most fun and gratifying albums out this year. Mighty High are lighting up with an aural invitation to share.

RingMaster 07/06/2012

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The DeRellas : Stick It To The Man Single

If you ever had the misguided belief that the heart and spirit of classic 1977 punk rock had dissipated and been lost over the years than stand by to be reminded and shown by the eager and mischievous new single from  UK rockers The DeRellas that it is alive and bristling to kick your butt. London based with members coming in from Brighton and Portland, The DeRellas do not take you back to the time when attitude and music raised its middle finger and stirred up more than just dust but bring it forth as if it had never laid dormant.

The two tracks that make up the Stick It To the Man single released through Dirty Water Records/Crushworld Records, badgers the heart and inspires urges of mischief with two varied songs reaped from and oozing UK and New York punk, dirty, belligerent and out for a good time any way they can. There is no pretence or attempts to be anything more than they are, just honest, irrepressible rock n roll. With a fine live reputation from playing with the likes of Hanoi Rocks and The Germs the band translate it into a rampant energy that fuels their recorded sound.

First song Stick It To The Man hijacks the ear with boisterous beats and gang chants before opening up the pace with stirring guitars and the baiting vocals of rhythms guitarist Robbie DeRella, who alongside lead guitarist Luca DeRella tease and taunt the essences with uncomplicated and sleazy melodies. It is the incessant bold rhythms of Alex Skinny DeRella alongside the moody bass of Timmy DeRella which capture and ignite the imagination with their glam rock open wantonness. Imagine Sweet or The Glitter Band in a booze addled union with The Dead Boys or The Flys and you have Stick It To The Man. The gang chants and rock n roll spine recalls the height of the great sounds heard at CBGB’s as it brings New York punk and 70’s sleaze/glam elements together to great effect.

Coupling the lead song is the excellent Go Go DeRellas, a scuzzy electrified Ramones homage/garage punk infection. A tongue in cheek instantaneous pleasure the track is simplicity at its best, easily accessible and an irresistible invitation to join in. The sound is equally powered with unrestrained rhythms and inciteful riffs that brings the original New York punks into a party blitzkrieg with Johnny Thunders, The Vibrators, and Suburban Studs.

The DeRellas wear their influences on their sleeve without an ounce of predictability or venturing into dullsville. Yes you can pick recognisable parts out and know their inspiration but it is brought with a flair and energy that sets the band as one of the most refreshing punk bands around and a band which is not only keeping the original sounds and intent alive but living and breathing it.

RingMaster 08/05/2012

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The Panic Beats – The Panic Beats

 

The Panic Beats is not the most stylish band you will come across or the most original. They will not leave you open mouthed with creativity and might in fact have you wondering why you like their debut self titled album so much, but that is simply because it is downright irresistible and totally fun. The release is not trying to be ground breaking or the height of musicianship and uniqueness; it is simply part homage, partly chaotic and all entertaining.

The Panic Beats is the singular chorded solo spawn of Michigan musician Dale Van Thomme, and the album a distorted punk rock offspring cultured within his obvious adoration of The Ramones and love of horror and sci-fi movies. The whole album is steeped in the essence and sound that made the aforementioned punk band essential listening and the source of heartfelt allegiance back in the late 70’s. It is like listening to The Ramones though an aural freakshow mirror, off kilter, at first disarming, and by the end a pure addiction that one loves to return to. There is no pretence to the release, just honesty from the first note to the last. This is nostalgia at its devilish best, working to tease and taunt with a knowing nod to old school punk fans and a mischievous wink.

The songs within The Panic Beats burst in, stay briefly but within that time capture and inspire thoughts and memories of a previous time if in a rather discordant and bordering on disaster kind of way. From the opening excellence of ‘Die Tonight’ the album enchants with a car crash like attraction. This is not meant to sound like a negative as rarely lately has a release given as much inner pleasure as here, yes it carries flaws but they do not matter when the album is this much fun.

The songs are based upon themes of horror and love inspired violence adding a Misfits element but this is totally old school punk, the spirit of The Ramones dragged from ‘the grave’, decomposing and splintered but bringing unbridled enjoyment. Tracks like ‘Bound And Gagged’, ‘One Bullet’, ‘Invasion’, and ‘the wonderful ‘Love Kills’ leave one with a big grin, a pleasured heart and the need to throw on Rocket To Russia or Leave Home. That is probably the biggest problem for the album it inspires such strong feelings for the legendary quartet that many will go to them rather than staying with The Panic Beats’ release.

The album is a little inconsistent but never to a level where one wants to miss any moment and when a track like the triumphant ‘You’re Gonna Mutate’ plays you never want to leave. If you want to be very picky the songs are rather simplistic, Van Thomme’s vocals often challenging the concept of ‘in key’, and the lyrics unoriginally obvious but that is the point and why it’s so enjoyable. It’s a warped homage not a copy and one that works to a high degree. Chants, drum beats and guitars chords are revisited from the past and often within the album but it all adds to the pleasure.

Go check The Panic Beats out, you may disagree about its merits after but you know you will have had fun whilst finding out. With two more albums waiting to be released from The Pulse Beats, there is one here who cannot wait.

RingMaster 11/02/2012

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Beat Seeking Missiles – ‘Break My Fall’/’Dr. Strangelove’

Warm, enthusiastic and completely magnetic, the debut single from Beat Seeking Missiles jumps all over the ear to offer riotous beats, melodically curved grooves, and insistent energy.  ‘Break My Fall’/’Dr. Strangelove’ knows what it has and is unashamed in bringing it directly and openly to one’s senses. It has irrepressible blends of beat and surf rock coupled with garage and heartfelt rock ‘n’ roll to merge into a sound that brings sixties vaunt alongside punk attitude and garage rock honesty, it has unbridled dirty charisma.

Released on Dirty Water Records the single brings elements of the likes of The Stones, Bo Diddley, Link Wray and in some ways The Modern Lovers. For all the artists their music does remind of the Beat Seeking Missiles as evident on the single, has a distinctive rugged sound of their own, offering influences as spices to their thick spirited creations. The band is comprised of a pedigree many bands would drool for. There is Sir Bald Diddley (from the Wig Outs/Big Wigs/Alopecia Records), Mick Quinn (dB Band and founding member of Supergrass), Kid Wig (of the Wig Outs/Big Wigs), and Bruce Brand (Pop Rivets/Milkshakes/Thee Headcoats/Masonics), a collective that certainly with this first single combine their experience and attributes into a stimulating and very exciting proposition.

Lead track is ‘Break My Fall’, a sixties lined slice of electrified raw pop. Combining a feel of the Who and the Troggs with The Stooges and The Ramones, the track flows with spiky melodies, soaring Beatlesque harmonies and tenacious riffs. The song openly wants the ear captivated, thrusting a simple but eager driven riff through its centre to allow the guitars to bring scorched diversions and enterprise to the track. The song is an excellent introduction to the band but soon left in the shade by its partner track.

‘Dr. Strangelove’ or to give it the full title on the single sleeve, ‘Doctor Strangelove, or How I Learned to Stop Worrying and Love the Beat Seeking Missiles’, is a rumble upon the senses. Part rock ‘n’ roll, part rockabilly, and part sixties enthused blues, the track is monstrous. Its persistent beats are hypnotic and the vocals dogged, the mix recalling the likes of Reverend Horton Heat, Link Wray and at times Ray Campi, plus the punk essences of a Rocket From the Crypt, It is wonderful stuff that gets better with the explosive melodic crashes and cascades within the song. The track plays with an arrogance and self belief that is irresistible and easily confirms that this is a band one needs to hear more of and go see live.

Beat Seeking Missiles are an instinctive need for your musical day, simple as that. Just trust and go listen to this single for your proof.

RingMaster 08/02/2012

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