My Cruel Goro – Self Titled EP

My Cruel Goro_RingMaster Review

Since its emergence a couple of weeks or so back, the debut EP from My Cruel Goro and its sound, has lured comparisons to bands as varied as The Clash, The Stranglers, and The Jam to the likes of Ash, Arctic Monkeys, The Fratellis, The Hives, the Libertines, Dinosaur Jr., and Weezer. For us the self-titled release brings a weave of Asylums meets Birdland meets New Bomb Turks to the table. That diversity across all references though is because primarily it is hard to pin down the My Cruel Goro sound; it seems bred from varied decades and through a vat of inspirations but with no particularly defined evidence to support any claim, everything just teasing whispers in something quite original.

cover_RingMaster Review     Hailing from Italy, My Cruel Goro is a currently Reykjavík in Iceland based trio which formed in 2014. Vocalist/guitarist Andrea Maraschi and bassist Andrea Marcellini had already been making music together for the previous nine or so years, meeting through a mutual friend, before My Cruel Goro rose from the ashes of their previous project, its demise according to Marcellini because “We couldn’t find reliable musicians to form a proper group with a stable line-up.” Then they met and linked up with drummer Tommaso Adanti, from whence My Cruel Goro stepped forward with now their new EP an introduction to broader awaiting appetites for their raw and virulent rock ‘n’ roll.

It opens with Clash and an instant blaze of enticing riffs and probing beats. A single breath of a ‘pause’ brings the throbbing tones of the bass in before the band strolls and swaggers with indie revelry, thick guitar incitement, and mischievous electronic enterprise. The song is a tapestry of fuzzy hues and blustery flavours colluding in a punk ‘n’ roll roar which is as creatively unpredictable and agitated as it is contagiously rousing.

Next up is Crapford, a song quickly endearing itself to ears and appetite with a wonderful opening melodic hook which is as Buzzcocks like as you can get without a touch of stealing. With tangy bass bait and crisp beats alongside, it is a gripping start which only gets stronger as warmer flowing vocals and pop punk hues add to the texture and richness of the song. As its predecessor, if without the final raucous spark, the track is an addictive anthem to get fully involved in before Glue Buzz takes over with its new wave meets garage rock devilry. A perpetual bounce with seventies punk attitude and tone, as well as a horde of spiky hooks, infectious swings, and a noise rock centre which simply transfixes as it meanders and evolves towards its scuzzy atmospheric climax, the song is a glorious end to a striking and thoroughly enjoyable stomp.

It is of course early days but if their first EP is the sign of things to come, My Cruel Goro could be making a hefty impact on rock ‘n’ roll ahead.

The My Cruel Goro EP is out now via Rebel Waltz Records as a free download at the My Cruel Goro Bandcamp.

Pete RingMaster 05/10/2105

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Los Bengala – Festivos Incluso

LosBengala_RingMaster Review

If it is released by Dirty Water Records it is going to be worth checking out. That is a theory we have bred over time which once again is proven to be spot on as Spanish duo Los Bengala turn the day into one of devilish festivity with debut album Incluso Festivos. Seeded in garage rock but embracing many more prime flavours of rock ‘n’ roll, the ten track encounter is a perpetual feast of sound and fun.

The list of inventive and thrilling duos is a growth industry in world rock, but there are some which just step out from the crowd to steal the show. Canada has The Black Frame Spectacle, the US has bred In The Whale, and now Europe has the mighty sounds and thrilling creative instincts of guitarist/vocalist Guillermo Sinnerman and drummer/vocalist Borja Tellez to drool over, and since being introduced to Incluso Festivos that is what we have been doing. Hailing from Zaragoza, Los Bengala is another tasty proposition emerging from the flourishing garage rock Latino scene. Last year saw the pair win a national battle of the bands competition in their home country and now have broader fields in their sight with Incluso Festivos which is co-released on their own imprint Wild Lion and Dirty Water Records, the latter spotting them playing a show last August in London with UK’s own garage punk geniuses The Mobbs.

The seeds of addiction are laid straight away through album opener La Caza, a minute and a half of rhythmic slavery. Tellez needs barely seconds to have ears and appetite gripped, his opening thuds soon a rolling jungle of rhythmic craft and incitement which just gets keener and more virulent with every rally. That alone would have left nothing less than lust behind but things only get better as the guitar of Sinnerman adds southern honed hooks and enterprise into the instrumental revelry. It is a scintillating anthemic start which is potently backed up by Sé A Dónde Voy. The band’s garage rock inspirations are ripe colouring in the jangle and eager energy spread by the song, its riffs and beats a persistent invitation for the Spanish sung lyrics to leave their expressive lures on.

cover_RingMaster Review   No Hay Amor Sin Dolor has the scent of The Clash to its opening bait of guitar next, a spice which continues as Tellez springs another fresh dose of rhythmic tempting into the brewing mix. The song has a definite punk breeding to its r&b invention and tenacious stroll whilst revealing another shade and arm to the Los Bengala sound and imagination. It is diversity which continues in Jodidamente Loco, a track which jabs and roars its way into the psyche with a mix of noise punk and dirty rock ‘n’ roll twisted into contagion of steely guitar, badgering beats, and volatile vocals. The track is irresistible, a song taking an already high plateau to the album up another notch before Máquina Infernal keeps release and listener on the same high with Latin lures and sixties toned catchiness.

65 Días next seduces with a psychobilly/surf croon, its sweltering air and haunting balladry mesmeric even as it subsequently lifts its tempo and emotional discord within the dramatic landscape. Like Reverend Horton Heat in league with UK band Milton Star, the song is bewitching, and increasingly so with every listen, much as the album itself.

Things get hectic and scuzzier again with the brilliant Aaah, a riot which reminds of earlier mentioned In The Whale but revealing its own groove infested, rhythmically incendiary, and unique stomp. Rock music does not get much better than this, just finds new ways to match such glory just as the band does with the swinging devilment of Ataco. Arguably the most pure garage rock track on the album though its successor might have something to say about that, it just grabs body and energies in its contagion led grip to take the listener on a controlled but exhaustion inducing stroll.

Perfect Body is the only English sung offering on Incluso Festivos, a mischievous celebration and virulent romp flinging grooves, hooks, and rousing beats around like creative confetti. The sixties, seventies, and the now are all rolled up into its infection loaded alchemy, body and emotions the swift slave to its glorious tempting.

The album is close by the similarly sensational Abran Paso, a song which again shows glimpses of The Clash as well as others like The Jam and less so Queens Of The Stone Age, but emerges as its own fascinating and torrentially captivating protagonist. It is a mighty end to a majestic encounter, and another reason to understand why the guys at Dirty Water got excited when first seeing Los Bengala. Thanks to them we now have one exciting and invigorating release courting, nay demanding broader attention and quite honestly the bottom-line is that you and the world needs this album in a fulfilled rock ‘n’ roll life.

Incluso Festivos is available now via Wild Lion/Dirty Water Records on vinyl, CD, and digitally.

RingMaster 25/08/2015

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The Sherlocks – Escapade

The Sherlocks

Bursting with bulging rhythms and just as rigorously captivating sonic invention, new single Escapade reveals exactly what Sheffield has been shouting about for quite a while; that The Sherlocks is one rather exciting band.

The UK rockers is bred from family and friendship, emerging in 2010 after brothers Josh and Andy Davidson, guitar and bass respectively, moved in next to the grandparents of vocalist/guitarist Kiaran Crook and his drummer brother Brandon. The quartet were soon bonding over football and music, uniting over favourite artists such as Arctic Monkeys, The Beatles, Libertines, Oasis, and The Jam. This led to jamming sessions where they discovered, explored, and honed their sound, and subsequently gave birth to The Sherlocks. Since then the quartet has played over 500 gigs, sharing stages with the likes of The Enemy, Simple Minds, Scouting For Girls, Reverend and The Makers, The Buzzcocks, Twisted Wheel, Tom Hingley, and Steve Cradock thesherlocksescapadeartworkalong the way, and in 2013 released debut EP First Bite Of The Apple.

The well-received EP, as their following top 100 single Live For The Moment, set down a marker in sound and adventure which Escapade now runs with in fine anthemic style. From the first spicy breath of guitar, the song has ears and emotions leaping to attention, especially once potently jabbing beats and a flush of riffs add to the initial coaxing. The lure of the song then just gets stronger and more virulent as a gripping hook emerges from the start and swiftly binds imagination and emotions in its wine of a temptation. The strong vocals also add appealing expression and energy to the song, never imposing but just helping increase the catchiness of the track.

A great throaty bassline flirts across the song too, but it is the overall contagion of the encounter and its inventive dance which most enthrals and has feet and voice seriously involved in the creative commotion. Ground-breaking the song is not but certainly it is invigorating revelry of the irresistible kind and a reason alone to keep The Sherlocks under a tight spotlight.

Escapade is available now @

The Sherlocks are touring the UK with remaining dates at…

20/02/15 Soundcontrol MANCHESTER

27/02/15 The Cookie LEICESTER

28/02/15 Talk Tea Rooms BIRMINGHAM

05/03/15 The Picture House HUDDERSFIELD

07/03/15 The Joiners SOUTHAMPTON

21/03/15 The Lemon Factory SWANSEA

10/04/15 Buskers DUNDEE

11/04/15 Stereo GLASGOW

18/04/15 Plug SHEFFIELD

25/04/15 Corner Flag SUNDERLAND

01/05/15 The Maze NOTTINGHAM

02/05/15 Club Academy MANCHESTER

16/05/15 Studio 2 LIVERPOOL

20/06/15 The Leadmill SHEFFIELD

RingMaster 17/02/2015

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The Jacques – Pretty DJ EP


Like a hybrid infestation spawned from a mix of Babyshambles, Arctic Monkeys, and The Sugarcubes, The Jacques in one scintillating swoop has announced themselves as one of the UK’s most exciting newcomers. That potent introduction comes in the sensational shape of the Pretty DJ EP, a four track stomp of Britpop and pop punk infused with garage rock devilry, which from first to last breath inflames the imagination and incites the body.

Formed only in January of this year and consisting of two sets of brothers aged 16 to 21, The Jacques inspired by the sounds they were raised upon which included the likes of The Strokes, The Ramones, The Jam, The Lemonheads, and Elvis Costello, swiftly made their mark on the live scene. In a few brief months the Bristol hailing quartet of vocalist/guitarist Bonnie Jacques, guitarist Jake Edwards, bassist/vocalist Oli Edwards, and drummer Elliot O’Brien found themselves playing numerous festivals across the summer including Guilfest and at Hyde Park where they supported The Libertines and caught the attention of their drummer Gary Powell, the co-founder of 25 Hour Convenience Store, who signed them on the spot to the label which now uncages the band’s first irresistible offering.

Recorded at Rockfield Studios with Dan Swift, Pretty DJ opens with its title track and instantly ignites the imagination and appetite with an initial jangle of spicy guitar. With rhythms soon in tow, the song relaxes into a warm yet unpredictable stroll littered with quirky hooks, a rhythmic shuffle, and a richly persuasive bassline. It is potent bait especially when the distinct and unbroken vocals of Bonnie flirt with ears, his tones refreshingly unique and individually expressive even at a young age. The song proceeds to weave its salacious sonic curves and healthy rhythmic persuasion with raw and compelling seduction, every syllable and note brought with a dose of eclectic enterprise. It is a sensational first taste of the band and release which only inflames hunger the_jacques-pretty_dj-ep-2014-artwork-e1414933180481and passion for more with every twist in its armoury

The following Foreign Films has a more relaxed gait than the great agitated endeavour of its predecessor, but is no less virulent bait with its sultry melodies and a great vocal duelling between Bonnie and Oli. It is hard to look further than The Libertines as a spicy influence here, though equally there as whiffs of bands like Supergrass and Pulp at play too. The song also carries garage rock tenacity to its sonic and lively cosmopolitan temptation as it reveals a little more of the rich potential and imagination of the young band.

Scum In A Bottle also visits that garage rock breeding as well as a punk causticity which adds further tasty shades of endeavour to the release. Guitars spark and flame with raw charm whilst again the vocals tantalise with their seamless union and magnetic uniqueness. Littered with mouth-watering craft and creative revelry from the guitars and a pungent baiting from the intrepid rhythms, the track steals its own thick wedge of the rich praise building up inside waiting to shower the release, a portion matched by that garnered by the closing Weekends.

The final track swiftly has its temptation ingrained through an opening bass lure. Always a sucker for throaty enticing like this, the track had us gripped from its first second and only proceeded to increase its hold with tangy grooves and similarly tasty hooks across bracing swipes of sonic causticity. As with all the tracks, it is impossible for feet and vocal chords not to join its call, with pleasure in close quarters to their eagerness.

It is fair to say that The Jacques wear their influences on their sleeve but only as homage to those inspirations and as an invigorating hue to their own invention. The Pretty DJ EP is easily one of the highlights of the year and easy reasoning as to why Mr Powell leapt upon them within a breath of discovering their existence.

The Pretty DJ EP is available now via 25 Hour Convenience Store @

RingMaster 12/11/2014

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Smash Fashion – Big Cat Love

s m pic

The wantonly enigmatic sound and presence of US rockers Smash Fashion has always made for a compelling and thrilling proposition since forming in 2004 and new album Big Cat Love provides no deviation in that potency. In fact it takes it to richer captivating levels with another collection of riotously varied and adventurous fusions of rock ‘n’ roll. The album sees the band again reaping the blooms of various decades and styles of raw and boisterous rock music, hard and glam rock as home within their invention as fifties rock ‘n’ roll and power pop. It makes for a tantalising proposition from the band’s third album, one which even with a couple of lulls in its persuasion is a stirring captivation from start to finish.

Hailing from Los Angeles, Smash Fashion consists of musicians drenched in experience and successes. The band is led by vocalist/guitarist Roger Deering alongside bassist Nigel Mogg (ex- London Quireboys), drummer Repo (ex-Smack), and guitarist Lloyd Stuart Casson (ex- Rock City Angels). Their previous full-lengths A Gentlemens Guide to Sophisticated Savagery and Don’t Pet The Sweaty Things in 2006 and 2009 respectively, set the band apart and into an eager spotlight for their expansive sound whilst last year’s single Blame It On The Brandy more than hinted at the promise of and raised anticipation for the new release. It was potential easily realised by the again Electricpudding Recordings released album, a confirmation of that clue and of the ever hungry invention and appetite of a band which has graced stages with the likes of Ian Hunter, Arthur Lee and Love, The Zombies, Cheap Trick, Psychedelic Furs, The Alarm, Missing Person, Orson, JET, and The 88 over the years.

A gong opens up attention and the entrance of first track Wicked Ways, a shock to ears which are soon filled with enticingly grooved big-cat-love-albumguitars and crisp probing rhythms. It is instant agreeable bait which only increases its lure with the vocals of Deering and an increasingly potent infectiousness which soaks the melodies and chorus of the song as well as the vocal delivery. You cannot say that the song is a startling protagonist for the imagination and emotions but it is a persistently persuasive stroll of finely sculpted hooks, fiery grooves, and sonic enterprise which achieves the same impact. Feeling like an old friend in new clothes in many ways, much like the album, the song is an impressive opener which is swiftly matched by Marionette. Bringing more punkish seeds than the first whilst still firmly involved with a hard rock canvas, the excellent track seduces like a mix of early days The Jam and The Vapors, easily igniting and passions. The fact that it is a reworking from an appearance on the last album makes no difference to its might and presence on the album, such its thrilling offering.

The following Strike My Fancy (Knickers Down) is as flamboyant and wonderfully sleazy as its title suggests though with a refined touch in restraint behind a melodic colour which flames around the senses as keys tease their submission. It is another excellent romp with more contagion than a strip club and just as sexy, especially with the incendiary guitar craft blazing across its body, a skill just as evident in Stay Off My La La and You Love to Suffer. The first of the pair shows its intent to rock from the first seconds, riffs and vocals a keen devilry within a sturdy frame of rhythms and dark roaming basslines. As all the songs there is something virulently catchy and anthemic to the track easily bringing feet, voice, and emotions into its grasp. Thoughts of bands like The Motors and Eddie and the Hot Rods are stirred occasionally through the song before it makes way for its successor, a smouldering ballad which from humble temptations emerges over time as a riveting enticement with dark sixties punk croon to its suasion.

The title track comes in next, starting with a mischievous almost tribal groan which sparks real intrigue but then as swiftly abandons the bait to twist into a glam/seventies pop rock which is more than decent but just does not excite like the previous songs. Like Darts meets The Quireboys it is a satisfying romp but not one to fire up any real passion in personal tastes, though the bass endeavour and climactic conclusion to the song are big pluses. The perfectly accomplished and varied Just a Kiss At the Starting Line is much the same in success though different in sound with its country rock twang and bold melodic rock stroll. The guitars and drums again ensure there is plenty to engage and run with, just not enough to spark any major ardour for.

Super Glam next builds a bold rock lure of country bred spice amidst a power pop lilt and darkly toned vocals. It is another song taking time to convince but succeeds eventually through its excellent pop swagger and hard rock veining of outstanding guitar craft and pumped rhythms. It is one of those devious songs which takes a deeper grip than first realised to be a lingering presence, though the following punk infused Aim for the Heart soon has total attention for itself, the song an outstanding fusion of the addictive hooks of Buzzcocks and rich drama of Psychedelic Furs all immersed in the kind of premise which only Smash fashion can conjure. The song is an infectious temptation with feisty intent, a mix equalled by Blame It On the Brandy right after. The song immediately has ears at attention as it opens with ridiculously addictive rhythms before settling into a brew of alluring hooks, stirring riffs, and healthily anthemic vocals. Bringing seventies glam flourishes into a tempest of blues kissed rock n roll, the excellent encounter is a mix of American rock and Thin Lizzy, and a complete joy.

The dusty climate and vocal shade to Live to Tell makes for another very satisfying if not explosive avenue to the album, its scenery a bloom of shapely guitar invention and flavoursome rhythmic wile, before Stairs to Nowhere brings Big Cat Love to a rousing close. A big boned mesh of seventies hard rock and garage punk with unsurprising but enjoyable animated energy and passion, the track makes for an eventful conclusion to a fascinating triumph. Boundaries are not worried and originality arguably left alone for the main by Smash Fashion on their album but they still present a proposition which incites pleasure and the rocker in us all and that is more than enough for us.

Big Cat Love is available via Electricpudding Recordings now!


RingMaster 09/05/2014

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Sisteray – She Likes The Drama


     Since forming in 2012, British rock band Sisteray has been building a rather potent fan base and appreciation through  their live performances and releases, an eagerly followed presence which their new EP She Likes The Drama gives plenty of evidence to the reason why. The four track release is an engaging proposition which from making an initially decent if unsure persuasion emerges as a magnetically appealing enjoyment. It is fair to say the EP does not quite reach in to ignite a flame in these particular passions but from the sure satisfaction definitely found you can easily see that it will be a different proposition for a great many others.

    Hailing from London and consisting of Niall Rowan (lead vocals/rhythm guitar), the Connolly brothers Daniel (lead guitar/vocals) and Ryan (drums), and Michael Hanrahan (bass), Sisteray take influences from the likes of The Kinks, The Beatles and The Who but equally from 70’s Mod Revival bands such as The Jam and Blues bands such as Dr. Feelgood, The Yardbirds, and The Rolling Stones. Those spices are open in the Sisteray sound as are also inspirations from more recent bands like The Stone Roses, The Arctic Monkeys, and Oasis. It is a striking mix which despite that rich soak of inciting flavours, does find a voice distinct to Sisteray as loudly evident on She Likes The Drama.

    The title track kicks things off, a single guitar tempting luring in attention and imagination before being joined by a nice dark 1536716_554607001299650_1249032493_nbassline and melodically sculpted riff strokes. It is a clean and precise persuasion of sixties blues kissed rock ‘n’ roll with a seventies garage rock breath and nineties indie endeavour. The song never explodes into the fire it hints at, especially around the chorus, but it is as infectious and compelling as you could wish for and undeniably makes a pleasing impact. The vocals of Rowan like the song are expressive with a strong buoyant tone whilst the prime hook of the song is irresistibly potent and with the other enticing elements of the song it all adds up to make the track an increasingly enticing offering over time.

      The following Rollin’ Over also offers a highly coaxing entrance into the song, a lone throaty and slowly parading bassline beckoning ears before the subsequent flame of melodic guitars and crisp rhythms joins the tempting. There is a stronger blues aroma to the song right away which the group vocals around the chorus accentuate into a quite inflammatory suasion. Again the band never erupts into the assumed and hoped to come unleashing of anthemic energy within the track, which does disappoint slightly, but there is plenty in the swagger and voice of the song to draw in appetite for and enjoyment in the encounter.

      I’m Free emerges on a fuzz ball of sonic intrigue increasing further the blues fire which smoulders and burns in each song, whilst a certain Oasis bred croon equally impacts on the ears. Not as tantalising and ultimately impressing as the other songs, it still captures the imagination especially with the constant almost brawling blaze of sonic scowling which cores the musical narrative. Providing the heaviest rock ‘n’ roll moment of She Likes The Drama, the track keeps momentum and strength of the release strong and engaging before making way for the closing Coming Up.

     The song ensures the release ends on the same high as it started, actually an even greater success with the track the best on the EP. It takes a mere second before the irresistible hook of the song steals the imagination, its call switching with a more sobering but inviting swipe of riffs. Into its stride the song is soon urging feet and emotions to partake in its revelry, its presence a mix of the mod power pop of Purple Hearts, the raw punk simplicity of The Fall, and the addictive nature of Arctic Monkeys. It is a masterful and wholly contagious thrill which alone confirms that Sisteray is definitely a choice emerging force in UK rock.

     As previously stated She Likes The Drama fails to spark up the strongest emotions in our personal reactions, well until the excellent final song anyway, but it is impossible not to hear the potential and already toxic strengths of the band which has captured so many hearts already, with plenty more to follow you can only suspect. A release if any of the previously mentioned comparisons take your fancy, to give a big slice of attention to.


RingMaster 15/02/2014

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No fear just imaginative provocation: an interview with Dale Crover of Melvins


Any real rock fan knows that the legendary Melvins never shy away from invention, exploration, and mischief within their continually impressive creativity and releases. Three decades have seen the Washington band ignite the senses and imagination as well as music itself with their one of a kind ingenuity, and the release of Everybody Loves Sausages presented yet another album to lift the emotions and provoke the senses. Consisting of cover songs from bands which the members of Melvins have a passion for themselves and featuring an array of guest vocalists the album is one of the biggest sparks to strike 2013. Intriguing to find out more about the album and its creation we had the pleasure of asking drummer Dale Crover about the release, particular songs, and some of those additional friends helping bring the album to life.

Hi Dale and many thanks for sharing your time to talk with us.

You have just released your excellent album Everybody Loves Sausages, a collection of cover tracks. Did the fact that the songs were not yours originally bring a different emotion and feeling compared to your previous releases as it’s unveiling to the world loomed?

We started recording cover song with the idea of releasing them as singles. It wasn’t until we had a bunch of songs done that we realized we had a decent albums worth of material. We didn’t treat this record any differently than any other release.

Did its recording also offer up a different type of fun just because they were songs which you had no involvement in the writing of?

We’ve always done cover songs since day one and we’ve always liked playing covers. Almost every record we’ve ever done has a cover song on it. If we’re going to do a cover, we try to own it like we wrote it. We either try to improve it or at least do it justice.

The time and attention given to each track and your interpretation suggests the songs and bands were ones which had a strong impact upon yourselves, is that the case and the reason for their choosing?

Well yeah, these are all songs by bands that we really dig!

Was there an extended debate within the band over chooses or the songs were relatively unanimously agreed on from the start?

No! We’re all in agreement here. We have pretty much the same musical tastes. I don’t know if Coady and Jared knew much about The Fugs, but they seemed like they were into it. That’s a band that has a pretty big influence on us. Listen to that song, and then our song Black Bock and maybe you’ll hear it.

In the choice of tracks was there any element of mischief, making choices to catch people off guard maybe?16315_10151432583720939_1671142432_n

We thought going from Venom’s War Head into Queen’s Best Friend would throw people for a loop. From totally aggro to I love you! It works perfectly! We weren’t trying to be ironic doing either of those songs though. We really do love the Queen song! It’s a great tune!

You are no strangers to doing cover songs as you said but how big a step did it feel making a full length album of them and did it offer experience or problems which your own compositions do not inspire?

In case you haven’t noticed by now, there’s nothing we’re afraid of doing. I’ve read reviewers say that we did a covers record because we have nothing left to say. Obviously these people haven’t been paying attention to what we’ve been doing. In a space of a year we put three releases by three different versions of the band, toured across Canada, did a record setting tour of the US, released a series of split 12″, toured Europe twice and now put this record out. I’m sure I’m probably forgetting about something as well.

The album also sees a wealth of your friends vocally adding their individual touch to many of the tracks, was it a concentrated decision before the start who you would bring in for what or did the tracks almost invite obvious choices for you?

Some of them we’re well planned. Mark Arm from Mudhoney doing Scientists for example, or Jello Biafra doing Roxy Music. I think we had a few different ideas for Jim Thirwell. He chose Bowie.

Did you give them precise directions to approach the songs especially vocally or let them run with the idea and ball? I ask as our favourite track on the album In Every Dream Home A Heartache, which sees Jello Biafra transforming the Bryan Ferry bred shadows in an organic almost improv like evolution before the ear.

We worked with these different people because we like what they do. We wouldn’t dare tell anyone what to do, or how to sing. I did however tell Clem Burke from Blondie that he was going to do a drum solo. He asked what type of solo to play. My only instructions were to “freak out”!

How long did the album take to make and was it all recorded in one studio or across varied stages with all the guests involved?

We did most of the tracking the winter before last, mostly at Sound Of Sirens studio. A few things were recorded elsewhere.

Is there any particular song or moment which lit your personal fires a little more intensely on the album than most?

Hmm, that’s hard to say. I like hearing the songs when they start to gel. Usually that happens in the overdub process, after I’m done with the basic structure of a song. That’s when I start to get ideas or hear parts in my head. That’s the moment for me where I feel the most creative and exited.

I have to ask about The Jam track Art School which features Tom Hazelmeyer on vocals with a great tongue in cheek cockney accent to song and the following skit end. Was it coincidental that his closing fun felt like a mischievous pop at the middle class background of the great band riding the supposed anarchy of the punk movement in their early days?

Less coincidental and more whiskey fuelled. The English are an easy to target to poke fun of.

180178_496925000938_3202216_nIs the album something you would look at doing again, have already ideas of songs to cover prompted thoughts in that direction?

We recorded way more than what’s on the record. For the vinyl we’re going to release each song as a single with unreleased B sides.

Melvins is an iconic band who has inspired so many bands across your influential years, what inspires your creativity most potently?

Everything that surrounds us.

Will you be taking the album or tracks on tour and if so will your friends on Everybody Loves Sausages be lured to make their part too?

I doubt it, but I would like to play some of those songs live.

What is next on your horizons as a band and individually?

We’re doing our 30 year anniversary tour of the US this summer. After that I’m not sure. Probably more of the same. Hopefully I’ll get to produce more records. Our engineer Toshi Kasai and myself produce bands under the name Deaf Nephews. We recently worked with the bands Qui and Federation X. Toshi has a studio now and we’re for hire to produce and perform on projects.

Once more a big thank you for sparing time for us, any last thoughts or temptations for the readers?

Yes, I know what the real meaning of life is, and its…

Read the review of Everybody Loves Sausages @

The RingMaster Review 16/05/2013


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