Listening to the trio of songs making up The New Southern Electrikk debut single, is like being immersed in a kaleidoscope of sound, each song offering a different light and colourful adventure to another. The release is an unpredictable proposition and a bewitching one, revealing why a vibrant buzz around the UK band from fans and media alike but equally suggesting we have barely scratched the surface of their depths and creative imagination. It would be wrong to say the single blew our fuses but once romanced and seduced by Brown Eyes and company, it is impossible not to have a healthy intrigue and appetite towards The New Southern Electrikk sound.
With the likes of Goldblade’s John Robb, the single released on his Louder Than War Records, The Lemonhead’s Evan Dando, and Suede’s Bernard Butler amongst fans caught by the band’s melodic spell, The New Southern Electrikk have ears and imagination engaged almost from the first melody stroking ears from within Brown Eyes. It is single guitar bred flirtation with just a percussive whisper alongside but a coaxing soon broadening into a sixties melodic melodrama of emotion and smouldering elegance. The song was inspired by a dark moment in the life of keyboardist Rikki Turner fourteen years ago when a woman he loved left his life as The Shirelles’ Baby It’s You was playing in the background. The former Paris Angel musician wrote the song’s lyric and melody soon after and there is no escaping a sixties girl group like charm in the music of the track or the soulful angst of that moment in time in the captivating delivery of vocalist Monica Ward. The melancholic basslines of Steven Tajti only add to the shadows, their melancholy courting the lean but potent melodic colours cast by guitarist Zack Davies. Evocative within a sultry climate, the gentle but imposing croon of the song with its Shangri-las like finale gets right under the skin, not necessarily setting a fire but working away over time as hooks and vocal moments persistently return in thought and memory.
The following landscape of The Theme to the New Southern Electrikk immediately ventures into new realms, keys weaving a psychedelic ambience around Krautrock scenery. It is only part of the soundscape though as a post punk seeded bassline swings its morose invention around crisp and uncluttered rhythms from drummer Jim Correy. Similarly a Morricone-esque tang simmers within the melodic wine of the again slightly sixties pop coloured instrumental too, it all aligning for a tantalising and compelling flight for ears and imagination to bask in and explore time and time again.
Completed by a mesmeric version of The Gun Club’s Mother of Earth, The New Southern Electrikk’s first single is rich magnetism. There is something for everyone within its spicy creativity and the minimalistic textures which offer new shapes and persuasions with each song on offer. Expect to hear a lot more of this fascinating band in future.
Just like its title suggests, Super Charged Little Nova the new album from The Objex, is a lean, mean punk machine. A fireball of antagonism and in your face passion which explodes with incendiary intensity and belligerence across its magnetic canvas, the third album from the Sin City dwelling band confirms the raw and insatiable might of one of the genre’s most colourful protagonists aurally and visually. It is a tougher more aggressive provocation than before from the quartet, one with a hostile punch to match its breath-taking toxicity. Quite simply the eight-track release is The Objex’s finest and dirtiest rock ‘n’ roll rebellion yet.
Formed in 2006, the Felony Melony (real name Melanie Troxler) and Jim Nasty led band has provided a forceful and virulently contagious proposition since day one, their first demo Bound And Gagged waking up the local scene before debut album Attack Of The Objex in 2007 gripped further afield as it led the band to acclaimed appearances at events such as the SXSW music festival and The Afro Punk music festival as well as subsequently support slots with Demob, Goldblade, and The UK Subs on UK tours. Second album Reservation For Debauchery hit the world in 2009 earning the band even greater attention around the globe as well as awards and nominations respectively at the Vegas Rocks Award for Best Punk Rock Band 2010 and Hollywood Music Award for best alternative song 2011 and best rock song 2012.Across the years as well as sharing stages with others such as The Dwarves, The Addicts, Agent Orange, Sham 69,The Vibrators, and Guttermouth, line-up changes have crossed the band but now with a stable team of drummer Chili (Joaquin Espinosa) and bassist Ivan Del Real alongside vocalist Felony and guitarist Nasty, The Objex unleash their most aggressive and virulently demanding release yet. It is a dive into their most hostile depths though the primal rhythms and deeply barbarous hooks which marked their previous releases still seduce and rile up imagination with their toxic infections. The album is nothing less than a brawling treat for punk rock.
Super Charged Lil Nova hits hard and potently with opener Burn, its opening sonic bait the trigger for a heavy stride of intensive rhythms and scarring riffs within a metal seeded intensity. Instantly the song grips attention like a mix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.
The excellent start is straight away matched by the predatory Crush, again a muscular urgency and a carnivorous metal based temperament leaking into the voracious punk heart of the song’s fire. Felony and Nasty cast a web of ridiculously riveting temptation with their individual assaults across the song, enticements impressively stalked by the rhythms of Chili and the bass grouchiness of Del Real. As its predecessor, the track is an eye balling aggressor which inflames and incites the emotions with sublime ease.
A spice of salaciousness hits next through the equally tempting and irritable Queen Cobra, its instant scrub of guitar the gateway to a barrage of bone shuddering beats and caustic riffs, one again lorded over by the irrepressible vocal roar of Felony. A devil bred temptress with intimately devious designs to its sound and intent, the track is a furnace of vicious sonic enslavement and merciless melodic seduction, each extreme uniting for a ridiculously addictive and rapacious trap.
The band uncage their latest single GG (Get It Done) next, an ode to punk provocateur GG Allin which maybe does not thrust as big a pair of shock loaded balls into the face as expected but provides an old school punk rabidity and motivation to greedily devour before the ferocious blaze of Grrr steams at break neck pace across the senses. As with all the songs, there is an unpolished beauty to the core and thrust of the tempest but just as irresistibly a spine of inventive barbs and melody kissed underlining grooves poison the imagination and passions with the fullest rabid charm leading to a subsequent lustful submission from the listener.
Both Milk Man with its torrential flood of senses blasting rhythms and guitar sculpted predation, and the spiteful seducing of Thanx 4 Cumming keep album and its recipient raging with unrelenting energy. Each in their individual way light a match to old school nostalgia and modern animosity, the first oozing with discord charmed harmonies within the twisted seduction of its uncompromising musical and lyrical revelry whilst its successor does not pull its forceful jabs either as it boldly stands up and bitch slaps senses and emotions. The pair are pure punk rock and prime The Objex, reaffirming that SuperCharged Little Nova is at a new pinnacle of invention and sound.
The album closes with Trainwreck Suicide, a sensational pop punk predation which if you imagine a mix of Sweet and Penetration led by the hybrid of a cloned union between Suzy Quatro and Wendy O.Williams, you would not be far from guessing the quality of the glorious closing triumph.
The Objex has never been a band which has left a bland or uneventful mark on rock ‘n’ roll but without doubt with a greater maturity and stronger antagonism to their craft and open alchemy in their sound, Super Charged Little Nova places the band on a new genre inspiring plateau.
Punk has been treated to some exceptional albums so far this year and none any better than the new album from UK giants Goldblade. Their sixth album, The Terror Of Modern Life, is a masterful, openly diverse, and ferocious strike of irresistible and inciting riots of invention and enterprise. One of the most thrilling releases to unleash its triumph upon 2013 so far, the thirteen track brawl snarls and provokes thoughts and senses with pure imaginative craft. Seizing the opportunity to talk with band founder and vocalist, John Robb, we charged up our questions to ask one of the genre’s biggest creators about the album, punk itself, and his own history.
Hi John and welcome to the site, thank you for sharing time to chat with us.
Album six, The Terror Of Modern Life, has just unleashed its confrontation on the world; does the feel, thrill, and anticipation change from release to release?
Of course…and it gets to be a bigger thrill. It’s a mixture of thank fuck we are still doing this and surviving in the collapsing music business and still have enough inspiration to still want to make music!
With this album we felt really excited. We knew we were onto something good with this record a long time ago. We got the sound we wanted from the start and we worked hard to get the songs right. We wanted a variation of styles- from fast kinda hardcore rushes to anthemic punk to dark tribal stuff to droning post black metal apocalyptic pieces. It’s like a collection of all the various strands of punk and its off shoots – we wanted something people could dance to at gigs, something full of hooks but also fuck with things a bit as well. We wanted to make a record that reflected the underlying darkness and unease of these times, times where the word ‘terror’ is the key word like the word ‘clash’ was the key word in the punk times and caused the classic band to name themselves.
We immersed ourselves in the album and pushed ourselves to the brink. We then made the sound the way we wanted, in a way we never got close to before. We wanted something darker and heavier- we wanted the bass to sound right- I had reformed my old band The Membranes for a few gigs and played bass again and it reminded me of the fundamental power of that instrument if you stick it though a rat pedal and play it with a direct venom- this cross pollinated into Goldblade and infected the album and it really places us back into the place we wanted to be- that twisted end of punk occupied by Killing Joke, Dead Kennedys, Stranglers, Black Flag, whilst continuing the great quest of the Clash but updated to a 21st century feel because we have never stopped listening to new music.
The year has already seen the outstanding new UK Subs album XXIV provoke and impress and now your scintillating encounter, it feels like the ‘old brigade’ is still driving and leading UK punk, does it feel like that for you?
There are great younger bands around- Dirt Box Disco album is stuffed full of great songs- I think it’s a case of older bands not giving up in their dotage- with discipline and concentration you can make the best and most urgent history of your history. Punk, by its nature, doesn’t have leaders- we just operate in our own space! The UK Subs album is great and Charlie is an inspiration to anyone, there have also been great albums from Killing Joke, the Stranglers and other bands from that generation- it’s like those bands have found their teeth again- maybe they also feel the urgency of these times…
The Terror Of Modern Life is as with your previous albums a collection of songs which steer through, challenge, and stand eye to eye with injustices and social wrongs, but your most potent and venomous yet?
I think things are getting a bit helter skelter out there and it’s hard not to reflect this, the last ten years has seen things get very unsteady in the world and that’s bound to get into the music- we have no interest in lecturing people, we just reflect what’s happening- people can make their own minds up or just dance to the music- it does not concern us what people think of the words, the world seems to be in a fast forward towards several different conclusions and out album reflects this tension.
Do you feel the impact of politically fuelled songs whether on the personal, social, or world level is still as strong as it used to be within not only punk but music as a whole? Do people and especially the latest generation of young people listen to songs and music the same way as those before them?
To be honest the impact has lessened in some ways and yet in others it’s got stronger- music, the music discourse is no longer driven by the counter culture and there are many strands of thought out there, but that’s inevitable because people don’t have the time and the impact of being a political song is less than when it first came about in modern culture. I don’t think young people are less political than they were years ago- that’s a bit of a myth. Not all of punk was political and it didn’t have to be- punk was many things- it could be comic book like the Ramones or political like Crass and both were genius for me. I think people sometimes feel overawed by the world these days and feel detached from the political process and that’s creating dangerous vacuums. We don’t claim to have all the answers but we have definitely have all the questions.
You obviously grew up with and were inspired by the birth of punk and the bands sculpting its first mighty wave; do you still see and feel the same essences politically and musically in today’s punk bands outside of yourselves and the still provocative bands from back then?
First wave was important for me but I don’t wallow in there for ever- those records always sound magical and powerful but I love lots of new music as well even it affects me in a different kind of way. Modern punk bands are as varied musically and politically as any bands were back then, it has changed in many ways as well- even if it was a business then as well it seemed to be a bit more haphazard and suicidal- now it’s a long term operation and band’s gigs are very different. In some ways punk has become a tradition like jazz or blues and a way of making music or dressing- and that’s understandable – the music and the style are very attractive and create a cool- the only danger is getting trapped which is a contradiction of the punk spirit!
For those unaware of your intensive history within music could you give us the history of John Robb between say ’77 and the emergence of Goldblade?
Wow, that’s long and complex!
Born in Blackpool, formed The Membranes in the punk period and also started a fanzine called Rox. The Membranes became a big underground band with noisy records inspired by the dark zone in the middle of punk and post punk- we toured the world and were critic and John Peel faves. At the same time I started writing for Zig Zag and then Sounds and covered all the fallout of the punk generation from the goth to grunge scene to Madchester to baggy to punk itself- being the first person to interview Nirvana and also coining the phrase Britpop, formed Goldblade in the mid-nineties to fly the flag for rock n roll in the middle of the non-rock n roll decade! Wrote books on punk and the Stone Roses and the eighties underground scene as well as doing TV and radio stuff…and that all continues now with Goldblade playing all over the world etc…
As you mentioned your writing, something you are renowned, has that experience and aspect of your life impacted or brought a view upon your music lyrically and in regard to creating sounds which brings something different to Goldblade, something other bands might lack?
Of course, even for the simple reason that I hear lots of music and it also keeps me fully engaged in the culture and keeps me interested and investigating everything. I’m a compulsively creative person who keeps making, creating and writing stuff. Apart from hearing so much stuff I think the impact on Goldblade is more minimal as that is a very instinctive thing, we make the music that entertains us and the songs are kicked about in the rehearsal room till they sound and feel right to us and not to fit in with anybody, anywhere!
Listening to The Terror Of Modern Life alone, one has the sense inspirations are far wider than just the early days and sounds of punk. What does give you food for thought musically?
You got it- some people think we operate only within punk but we have a far wider listening base than that- even punk was originally about dub and other musics- it’s good to mess with things but keep the focus and the energy- sometimes it’s great to switch to fast and furious punk rushes just to get that adrenalin fix, sometimes it’s good to find a different rhythm or atmosphere- it could be from black metal or from dub reggae but it must always be put through the Goldblade mangle and made to sound like us.
Did you approach the new album any differently to your previous releases?
We wanted something a bit more extreme, more heavier, and rawer; we felt the last album had been too tame and too much click track and production- we wanted the record to sound live and if the songs speeded up towards the end then great! Because they speeded up with excitement- ‘rock n roll should speed up’ as Guy Stevens told the Clash during London Calling recordings…we had to record the album twice because of a fallout with the label but the second time we recorded it in two days flat and mixed it in 2 days- the urgency was vital to the album, it gives it an edge and we are addicted to the edge…
The songs on the album strike hard lyrically and deliver them with some of the most deviously addictive hooks and grooves, which comes first in your songs as a generalisation?
It can be either- we can have songs and bash them out in the rehearsal room and work out a vocal melody or it can be a phrase or some lyrics that come with a tune and we build the song around it- it’s a very varying process.
Is there any particular moment on The Terror Of Modern Life which gives you the strongest satisfaction?
I think the playing by the band is amazing, brother Pete’s guitar is fantastic- every time I listen I hear something new, even on the songs I mainly wrote! And getting the bass sound the way I wanted it to be- as heavy and raw as it should be- that made a big difference- when we finished the album we were really happy with it, I listened to it over and over- normally you feel a bit down when it’s finished but this time I could actually listen to this as an album and felt really excited by the sound and the reaction we have got so far with all the great reviews has proved this.
And anything you would have changed or like to have evolved further in hindsight?
That’s for the next album!
I would change the way people consume music- I think it’s getting almost impossible for people to record and release music now unless they are rich- the download thing has killed it for small underground labels and studios and everyone is really struggling out there- this is our first release where most of the people listening will have not bought the record but downloaded it from the internet and from the pirates- it doesn’t make me angry as technology is part of music- but it may mean that making another album may be almost impossible for us and lots of other bands. We will have to think of other ways of making and releasing music in the future.
The late seventies and punk gave freedom and realisation to bands and people that they could make music as they wanted, on their own terms. Do you think that freedom or realisation is still as potent, has the internet and the digital world given back that belief?
In some ways yes- you can get heard more now and the consumer has the power which we love- cult bands can be heard now and don’t have to grovel to the mainstream media for attention- that’s been very important to the underground and made a real difference- this is coupled with the real problems that many studios, labels and shops are having because of the pirate thing- we felt that if you want to give your music away for free that’s up to you and not someone else but we realise that there is nothing we can do about it- the internet is young and its effect on culture cannot be measured yet- at the moment its chaos out there and like the wild west- and as punks we love that aspect of it but we are not so servile that we want people we don’t know to make money out of us!
There has always been a unity and kinship between punk bands, certainly in its origins, do you still think it exists, can you feel that unity now?
Yes we all know each other, some bands are more friendly than others but there is a unity- I think we all face the same problems!
You have just come off a tour with the Misfits, and a band we love and feature constantly on our podcasts The Bone Orchard and The Ringmaster Review, Dirt Box Disco who you mentioned earlier. How was the tour and did you have to put those punk n roll freaks from DBD in their place 😉
DBD are good people and a great band and there songs are killer- I think they will be one of the biggest bands on the scene by the end of the year and we can then go and support them. It was great to tour with them and I had to chuckle when we played with them at the Manchester Ritz when their stomach problems were quite loud back stage. 🙂
You have toured all over the world it seems, any particular places other than the usual countries which you enjoyed and surprised you with their knowledge of your sounds?
Algeria was amazing- we were the first band to play there for 20 years and yet people knew our songs – that’s the power of YouTube for you- the songs that were on YouTube they were singing along- we have played all over- we have played Russia a few times and there is talk of going to China…
Once more a big thanks John for talking with us, anything you would like to add?
This year has already treated us to some exceptional and passionate punk adventure through the outstanding new releases from UK Subs and Dirt Box Disco; the legends bringing not only their sound but equally the genre into a startling and exhilarating new peak and the ‘new kids on the block’ showing punk n roll can be a masterful contagion bringing riot and fun into an irresistible union. Now we have the thrilling new Goldblade album which stands somewhere in between the two, the release an exceptional thirteen track brawl which snarls and provokes thoughts and senses whilst unleashing prime punk rock irresistibility. The Manchester band has always challenged and stood tall before injustices and social destructions but The Terror Of Modern Life, their sixth album, just might be the quintet at their most potent and venomous yet, quite possibly their finest hour.
The Overground Records released album is a titan of hooks, riffs, and attitude, a combative riot of energy and passion which leaves a deep mark whilst showing others how to be a potent inciting weapon against complacency and apathy, musically and socially. It opens with the mighty This Is War!, and instantly casts a web of belligerent and carnivorous bass corrosion over the ear. Bassist Keith Curtis immediately owns the senses, the barracuda throaty tone of his bass glaring eye to eye with the listener whilst aggressively seducing and intimidating. As the guitars of Peter Gorgeous and Andy Taylor sculpt out their share of the air with sonic precision and infectious flaming, the compelling canvass is set for vocalist John Robb to prowl and make his, as ever, enjoyably imposing and striking declaration. Complete with grooves and hooks which reap seeds in the same well of virulence as those conjured up by the likes of Buzzcocks and Dead Kennedys, and enslaving rhythmic excellence from Rob Haynes, the track ignites a fierce fire and hunger for the album with ease and makes a shout as one of the best punk songs in a long time.
It also sets a high bar for the rest of the release to emulate yet seemingly it is a simple test as the following Psycho Takes A Holiday and the staggering The Shamen Are Coming show. The first of the pair is a scorch of rock n roll with anthemic enthusiasm and undiluted melodic enterprise, its uncomplicated punk fuelled dance upon the ear as mischievous as it is energetic for two minutes of easy to ride and devour enticement. The second song is another startling highlight, a track which whips the passions up into a frenzy of rabid excitement. As soon as the opening scrub of acidic riffs, soon accompanied by the ever primal bass growl, lay their acerbic touch upon the ear greedy anticipation is sparked and sated impressively by a breath-taking mix of post punk and pure punk alchemy. Like a mix of The Adicts and The Diagram Brothers, the track twists and taunts the ear with scintillating flesh flailing sonic and rhythmic invention. As impacting as it is the scarring is subsequently soothed by the adjoining expression of group vocal harmonies and discord swept melodic caresses. Earlier it was said the opener was the best punk song in a long time, the fusion of all mentioned within The Shamen Are Coming ensures it stands as its equal.
The dub infested Serious Business swaggers in next with a loud whisper of Ruts to its courting, though as with all references they are mere colours to the distinct Goldblade flavour, whilst both We’re All In It Together and Someone Stole My Brain get the job done with straight forward accomplished craft, the first an uncomplicated old school punk bruise and the latter with another predatory tempting with again that delicious carnally bred bass spine making pure persuasion within sinister grooved riffs. With a maniacal hunger to its chorus and a compelling lure to the continual aural bulldozing offered, it is another immense treat which makes its predecessor, sandwiched between two such great songs, seem a little underwhelming despite its open strengths and appeal.
Through the likes of the all impressive Sick / Tired, They Kiss Like Humans, Act Like Machines, and the raw abrasion Guilty the album slips a little but only because of the excellence of the mountainous pinnacles it unearths. These and every song on the release are undeniably stirring and deeply pleasing assaults on the senses and thoughts but a few when placed beside a track like the immense and epidemically hooked The World Is Fucked Up Nowadays just have to take second place on the glory podium. This last song has a breath which leaves distrust and sonic malevolence on the tongue, but spiced up by impossibly tasty grooves which again would have made Shelley and Diggle drool back in the day, it leaves the strongest rapture making play with the emotions.
Completed by another furnace of ardour inducing punk majesty in the brilliant Hey You! Elastic Face, the ever caustic tones of Robb grazing up emotions whilst the barbed discord laced hooks fire up every other aspect of the listener, and the oppressive and threatening title track, a song which is dark, heavy, and intrusive like the world spawning its intent and ripples with essences of The Pack within its merciless consumption, The Terror Of ModernLife is quite brilliant. Simply it is an album which takes band and genre onto an explosive new anarchic plateau whilst fusing vintage punk and new uncompromising creativity into one frighteningly scintillating fury.
The recent release of their second album Peoplemadeofpaper, confirmed what a great many already new, that UK punks Dirt Box Disco is the future of punk n roll. Following up their equally impressive debut Legends, the Burton on Trent quintet has grown into a formidable, mischievous, and thrilling conspiracy to have fun for fans and music in general. Fresh from their appearance on the recent Misfits UK tour, we grabbed guitarist Spunk Volcano to find out what we could about the band and their album and that tour.
Hi Spunk and welcome to the site, cheers for taking time to chat with us.
Hard to believe I know but for those still unaware of Dirt Box Disco, can you firstly introduce the band and tell us about how it all began?
I think dirtbox was started when someone was sick and tried to make little figures out of the sick mess then a witch put a spell on it and we came to life.
What is the musical history of the members before the band?
I don’t have any history. I think Deadbeatz Chris was in Ken Dodds backing group in the 70s and Weab played banjo on a few Kylie minge records. Danny Fingers writes dirty music for sex films. Fazzo used to play for Rod Jane and Freddy from Rainbow when they toured live. Crazy times.
Musically and visually you are larger than life, putting fun and urgency back into musical rampage, but truthfully you are quiet retiring types right?
Yes we are very quiet and sometimes so quiet we whisper and fall asleep. Like fish.
Since those early days as a band how would you say you have evolved musically up to the new album Peoplemadeofpaper?
I think it’s the same. We just play. No plan. No evolution. We try a tune, if we like it, it stays. The thing that’s changed is more people get to hear ‘em.
Has your intent and purpose within the band changed as you continue to grow towards being one of the major names of UK punk rock?
Naaaaa. Still same. Make a good cd; throw yourself into your shows 101%, OR DON’T BOTHER. People don’t want to come to a show that’s boring, they wanna smile and sing and feel part of something!!!
As mentioned you are about to release your excellent new album Peoplemadeofpaper. Having just come off a number of dates with Misfits and Goldblade does this feel like it does for us, like a moment where things are at that edge of exploding into greater maelstroms of awareness?
Dunno it could be trapped wind haha. It’s hard to judge other peoples opinion unless it’s written down for u to see. If people are out there saying good stuff then great.
In our review of Peoplemadeofpaper, we said the album was not striking on from your previous gem Legends but was a sister slab of mischievousness in quality and intent; a fair comment?
Yes, it’s Dirtbox!!! We’re never going to be ground-breaking but we will be consistent and enjoy every minute of it.
Previous release Legends is an album which thrust you into the greater recognition and passions of a great many, did its success made you look at the new album differently when writing and recording it?
Difficult second album, more of the same, dunno what you do? We just jammed it out, aimed for the singsong jugular and kicked off! Nothing different as far as I’m aware, but I am special ….
Did you learn anything from the previous album and its creation which you used to greater effect for Peoplemadeofpaper?
Make sure you can tell what people are singing. People like singing in the car. Make the album sleeve colourful. Swear words are naughty. Dirtbox is too rude for kids. Kids like rude things.
How does the songwriting work within the band and what inspires your ideas and songs? Any substance to the rumour it is alcohol and lusty ladies? 😉
It works like this, I write a song. They say if they like it, yes or no. We crack on and make it superior. Main inspiration is being a nutter. Just close your eyes, it’s all there ……
Is there any particular track or moment on the new album which makes you a little prouder than you are for the rest of the release?
“I wanna kiss or finger fuck you” from Top Shelf. A Very rude thing to put in a song but it captures the moment of confused teenage hormonal stress, I couldn’t explain any other way. Minge.
As mentioned earlier you have just played a number of dates with the Misfits, how did that come about?
The Misfits rang us up and said please come and open up our shows ‘cos we’re your biggest fans and we’ve got all your records and we’ve got Dirtbox tattoos and posters all over our houses and we sing your songs as we go to bed and we love you so much it makes us cry. That’s true, that’s what happened.
Is this your biggest experience live to date in regards to consistent crowd size and fervour as well as bringing new fans to the cause?
Yes it is, and it was ace!! The Misfits were great to us and Goldblade too. We had a top tour.
How did the legends themselves feel about being blown away each night by your good selves? 😉
Didn’t happen, they are legendary. Each to their own opinion on that one but we did ok.
You are a band which obviously is always looking forward and not back but any sense of an anti-climax once the Misfits shows were over?
It was terrible when it finished. We all started crying, we were devastated. We tried to kill ourselves in the dressing room by drinking cilit bang!!!! Then I got taken away and told to write album 3 asap!!!
Talking of live shows, your songs all have an anthemic irresistibility which ensures each has a passionate following as fan favourites. Therefore you will eventfully disappoint some at shows by omitting their personal passions, do you at all feel guilty? Ha-ha
That’s already started; you can only play so many songs in 30 / 40 mins. Loads of good ones tho’ 😉
In our recent interview with Charlie Harper we talked about whether bands today underestimate their fans adventure so avoid or are scared of trying new veins and directions in their music. Dirt Box Disco is a band which does stretch its self within that as mentioned anthemic skill it has; this is an important aspect for you as musicians as well one suspects.
There is no other direction for Dirt Box Disco. It is punk rock n roll!! Dirt box or die! Like it lump it.
You gig constantly, have a hunger to perform and give a good time to all. Has it become more difficult to keep up your live presence over the past years or are bands that do say it has just making excuses for their lack of drive do you think?
We love playing live. It’s why we’re here. We try to do as much as possible. It’s always been about us and the crowd coming together for a fantastic super singsong!!!
You are not a band which is seemingly demandingly political with your music certainly compared to other genre bands, but there is a middle finger attitude which can rival any if need be within your music. Are there times you feel like putting the world to rights with a stronger voice musically?
Other bands do the political stuff much better than we could. There are bits and bobs and the odd song but we’re more about a big general fuck this, let’s have some fun!!!
What is next from and for the lustful deviancy of Dirt Box Disco?
Album 3 next April, got a Xmas song in me pocket, loads of great shows. That’s quite good.
Again a big thanks for chatting with us, any last thoughts, words, or antagonism you would like to leave us?
People should go out to watch bands live to get the full effect. Watching them on YouTube is bollocks and doesn’t give u the fair result.
..And finally tell us a dirty secret which emerged on the Misfits tour from yourselves or the headliners.
All the Misfits wear glasses. Shocker!!!!! Cheers SPUNK V x
lyric and melody soon after and there is no escaping a sixties girl group like charm in the music of the track or the soulful angst of that moment in time in the captivating delivery of vocalist Monica Ward. The melancholic basslines of Steven Tajti only add to the shadows, their melancholy courting the lean but potent melodic colours cast by guitarist Zack Davies. Evocative within a sultry climate, the gentle but imposing croon of the song with its Shangri-las like finale gets right under the skin, not necessarily setting a fire but working away over time as hooks and vocal moments persistently return in thought and memory.
mix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.
eye with injustices and social wrongs, but your most potent and venomous yet?
Did you approach the new album any differently to your previous releases?
unity now?
deep mark whilst showing others how to be a potent inciting weapon against complacency and apathy, musically and socially. It opens with the mighty This Is War!, and instantly casts a web of belligerent and carnivorous bass corrosion over the ear. Bassist Keith Curtis immediately owns the senses, the barracuda throaty tone of his bass glaring eye to eye with the listener whilst aggressively seducing and intimidating. As the guitars of Peter Gorgeous and Andy Taylor sculpt out their share of the air with sonic precision and infectious flaming, the compelling canvass is set for vocalist John Robb to prowl and make his, as ever, enjoyably imposing and striking declaration. Complete with grooves and hooks which reap seeds in the same well of virulence as those conjured up by the likes of Buzzcocks and Dead Kennedys, and enslaving rhythmic excellence from Rob Haynes, the track ignites a fierce fire and hunger for the album with ease and makes a shout as one of the best punk songs in a long time.
As mentioned earlier you have just played a number of dates with the Misfits, how did that come about?
