Special Brew and Pink Speedos – Lemmy RIP

Illustration: Word Repeats

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Lemmy touched a staggering amount of people’s lives in his 70 rock n’roll years on Planet Earth and almost all of these experiences were positive and genuine. Sure, he could be a cantankerous bastard and equally told as many people to fuck off – but they probably deserved it. He was a man of rare integrity, conviction and passion and he compromised for no one.
 
When news broke of his death the outpouring of affection was vast and overwhelming. Everyone had a story to tell, a memory to share. From punks to rockers to every aspect of alternative culture, to the mainstream who held him high as a figurehead of rock, his influence is far-reaching. But the stories keep coming back to what a gentleman he was. He always had time for people and didn’t fall into the rock star ego trap. His manager Todd Singerman recently stated: “He was one of the kindest men I’ve ever met. The proof would be to go ask his fans. He never denied someone an autograph, he bought the fans drinks instead of them buying him drinks”.

I first met Lemmy when I was ten years old at a charity football event that my father took me to. I’m pretty certain that Motörhead’s legendary frontman wasn’t kicking a ball around but he was there, I got his autograph and he patted my head. I thought he was cool as fuck. Then in my early twenties I interviewed him for Metal Hammer magazine around the time of the release of their ‘1916’ album. He turned up at the offices at 10.30am with a four pack of Special Brew, sat by my desk, drank the lot and churned out pearls of wisdom after wisdom. I was in total awe of him. I had to do the ‘single’s reviews’ and played some of the latest rock releases on a turntable by my desk for him to comment on, one of which was ‘Sliver’ by Nirvana which I was raving about. “ Yeah, I like that one”, he said. “It’s really interesting and they’re having a go at something by themselves and not just copying someone else. Good one.” It’s fair to say that drinking Special Brew and spinning vinyl with Lemmy on a week day morning is a memory I’ll cherish.

Ph: “Despite my appearance, believe me, I am a gentleman”

lemmy and claire

My wife has a fantastic Lemmy story that I want to share. Her and a friend were nearing the end of a US road trip in the early 90s, ending up in LA. They were staying at a rough motel at the wrong end of Sunset Boulevard and a gang had tried to break into their room the previous night, so they were scared to return. They were at The Rainbow and started drinking with Lemmy who was famously a regular, and told him their story. He showed concern at two young vulnerable girls with little money and invited them back to his apartment rather than return to the motel late at night. They agreed with some trepidation given Lemmy’s reputation with the ladies, but his behaviour was entirely chivalrous. They spent a fun-filled 2 days hanging out in his apartment, drinking endless bourbon and cokes being regaled with debauched stories from a life of hell-raising. He played them new tracks which were to feature on ‘Bastards’, the album he was working on at the time, allowed them to nose through his collection of Nazi memorabilia whilst he sunbathed in bright pink speedos, and (at their direction) posed for some hilariously inappropriate souvenir polaroids. 
 
The stories go on and on. It’s been heartbreaking over the last year to see Lemmy looking so frail and ill. We all wanted him to live forever. If Lemmy is around still, then all is well with the world. When they played Hyde Park in 2014 with Black Sabbath, Lemmy really struggled and they weren’t on good form. It was so sad to witness. But then a few months later Motorhead played at Wembley Arena with The Damned and they were back to full power and awesome again. That night they were incredible. The greatest rock n’roll band of all time, one more time.

Ph: Rummaging through Lemmy’s dressing-up box



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Slash declared “People who live, sleep and breathe rock n’roll, the lifestyle and the attitude. There’s only a handful of guys who are still alive who represent that. And Lemmy represents that to me.”
 And now he’s gone, taking the loudest band in the world with him. My absolute hero. A benchmark in integrity and passion, principled, opinionated and unapologetic, “I don’t regret much. Fuck ’em.” We will never see his like again. A true rock n’roll warrior. Rest in noise Lemmy.

Words: James Sherry

NOTE: It’s well known that Lemmy collected Nazi regalia but essentially he was more an anarchist than a fascist. Worth noting that both women in these polaroid photos do not support Nazi fantasies.

Buzz Osborne calls out Montage Of Heck

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The recently released Kurt Cobain documentary Montage Of Heck had Nirvana fans the world over riddled with excitement. Finally, a film to set the record straight, comprised of nothing but video clips, home movies, journals and demo-recordings plucked from a never-before-seen archive of the man’s own personal belongings. Surely no truer tale of events could be, especially with Kurt’s daughter Frances Bean at the controls as executive producer.

Not so fast, said Melvins-main-man Buzz Osborne this weekend in an essay published with The Talkhouse. “First off, people need to understand that 90% of Montage of Heck is bullshit. Total bullshit. That’s the one thing no one gets about Cobain — he was a master of jerking your chain.

Osborne and his band have been rocking since pre and post Nirvana, and it’s hard to deny that both bands weren’t running arm in arm together throughout their respective careers too. “My band played with Nirvana at their last show. I was there for the beginning and I was there for the end, for the very good and the very bad,” he adds.

This said, Osborne’s recent claims do rip the entire film to smithereens, “the whole “I tried to fuck a fat retard” story is complete bullshit. Not even an inkling of truth.

…the trying-to-kill-himself-on-the-train-tracks story is bullshit as well. It never happened either.” Buzz continues to highlight points of the film that he claims are untrue throughout the essay before opening fire on Courtney Love too, “a lot of what she says in this documentary doesn’t exactly jibe with things Kurt told me himself, but I suppose that’s not surprising when you consider history becomes elastic every time Courtney Love opens her mouth.

Get the full story at The Talkhouse and leave a comment below. Is Buzz on track here or completely off his trolley?

Whatever Nevermind

whatever_nevermindWhatever Nevermind
Various Artists
Robotic Empire

Keeping in line with the current montage of Nirvana whirling around the media, the fantastic Robotic Empire label have revealed their second tribute to the band.

Following 2014’s take on In Utero, which featured an all star cast of Ceremony, Daughters and Jay Reatard, this time around, Nevermind is given the cover treatment.

Featuring a diverse range of acts from Torche’s low-end sludge rendition of ‘In Bloom’ to La Dispute’s post-hardcore ‘Polly’ drawl, via White Reaper’s thrashing ode to ‘Territorial Pissings’, there’s much gold to be found here. Especially in Young Widows’ thankfully innovative spin on ‘Teen Spirit.

Kurt Cobain documentary Montage of Heck trailer

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In the 21 years since Kurt Cobain passed away, Nirvana and Cobain’s work has been subjected to an endless barrage of cheap cash-in films and books, few of them showing the art and lives the respect they deserve. At last, however, the real story of Kurt Cobain is being told with love, respect and credibility.

Kurt Cobain: Montage Of Heck’ (named after the heavily bootlegged Cobain tape featuring cut ups and audio mash-ups) has seen his daughter Frances Bean Cobain take on the roll of executive producer of the film. With full access to Kurt’s archive (hours of never-before-seen home movies, recordings, artwork, photography, journals, demos, personal archives, family archives and songbooks), we finally get a real look at Kurt’s life. This is the chance for Francis to get closer to the father she never got to know.

The first trailer for the film has just been released and it’s an instantly emotional, thrilling ride with the inevitable horrific end. Starting out with Kurt as an innocent young boy, it roars by, flashing through his intense life and leaves you hanging, desperate to see the whole film.

HBO will air the authorized Kurt Cobain documentary Kurt Cobain: Montage of Heck on May 4.

Jad Fair: The Half Japanese interview

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Half Japanese have just released a triumphant album of lo-fi but loud punk called “Overjoyed” and I’m super happy about it. Formed by Jad and David Fair before I wore shorts for school, before punk as we know it was invented, Half Japanese were the blueprint, nay the blue touch paper for many Gen X slacker bands. They resolutely refused to learn to play chords, their stage set up was primitive and detuned, primal and yet deranged.

By legend, once a soundman watched Jad tune up without plugging in, and when he questioned him was sent off with a flea in his ear, as Jad went onto play the whole gig with an air gap between his electric guitar and the amp. More recently as documented in the 1993 doc Half Japanese: The Band That Would Be King the Fairs played an unorthodox cover of Wilson Pickett’s ‘In The Midnight Hour’ at a nursing home and were accompanied unannounced by residents with harmonicas, which seemed perfectly normal for a band whose songs were generally either about love or monsters.

When you’re resolutely anti-convention and true to your own voice anything can happen, and nobody could deny that the band have followed their own wonky course and attracted a hardcore, cult fanbase. Some of these more musically renowned fans became players in the band including Gumball’s Don Fleming, Shimmy Disc’s Mark Kramer, and Moe Tucker of the Velvets no less. Half Japanese have also attracted other more even more left-field patrons like magician Penn Jillette (one half of Penn & Teller) who released some of their prolific output on his label.

But perhaps the moment that brought Half Japanese’s lopsided lyrics and discordant blur snap into focus for many music fans was the patronage of one Kurt Cobain, who got them to open on Nirvana’s ill-fated “In Utero” tour in 1993. The legend was assured when it transpired that Kurt was wearing a Half Japanese shirt when he took his own life.

The band went onto release their noisiest album to date “Hot” in 1995, followed by “Heaven Sent” in 1997 whose title track was over sixty minutes long. The Half Japanese output became less frequent, but Jad was still painting, paper cutting and releasing records hand over fist, including collaborations with other fans and acolytes The Pastels, Teenage Fanclub, Yo La Tengo and R. Stevie Moore. The old band had gone but was not forgotten as another collaborator Jeff Magnum of Neutral Milk Hotel curated them back together for his All Tomorrow’s Parties in 2012.

“Overjoyed” is the first Half Japanese album in 13 years, and although they feel like they’ve been around forever, the album couldn’t feel any fresher. It’s buoyed by exuberance, a joie-de-vivre not just backed with a jingle jangle but with jet pack assistance, particularly on the opening salvo of tracks ‘In Its Pull’ and ‘Meant To Be That Way’. Produced by John Dieterich of Deerhoof, the album packs plenty of punch, and far from being tinny like some previous work, it’s full of dextrous texture including on spaghetti westerly ‘Brave Enough’. The absolute piece de resistance though is the pure carpe diem of “The Time Is Now”, Jad’s love letter to an unspecified raven haired woman, but also to the World itself.

I’ve known him from my old days producing MTV’s Alternative Nation, and since Crossfire had included ‘In Its Pull’ in the October Buzzbombs it seemed like a great time to get in touch for an exclusive interview with half of Half Japanese’s original line up and its one constant compass, Mr. Jad Fair

Why the big delay between albums (since 2001’s “Hello”) what have you been up to?

The main reason it took so long to record again with Half Japanese is that we all live in different cities and two band members live in Europe. It’s expensive to get us all together and expensive to record at a studio. It fell into place this time because we had shows with Neutral Milk Hotel, and Joyful Noise covered the cost of recording.

My main focus for the last 15 years has been art. I’ve had several exhibitions, and have had quite a few art books published.

How does it feel playing alongside David again?

David doesn’t play on the new album. We do shows once a year with the original line-up at the ShakeMore festival and occasionally will have a show together, but it’s not very often. David and I recorded in a studio a year ago. We have enough songs for an album.

The album is called “Overjoyed” and you seem genuinely happy in it, especially from genuinely joyous love song ‘The Time Is Now’ onwards, what’s happened?

I have a good life, and I usually am happy. All of the members of Half Japanese get along well together, and it’s always great to have some time with them.

Ph: Brian Birzer

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How do you go about spreading your happiness?

I’m releasing a lot of albums. It will be six this year, and I’ll have 3 or 4 new ones next year. I’m also very busy with my art. I try to do 4 paper-cuttings each day. I have a very full schedule.

How important is it to be the best you can possibly be? “Overjoyed” feels like the Half Japanese self-help album…

It is a positive album. I like that. I read an interview of George Burns. He was talking about Jack Benny and said that he was always positive. Everything was always the best. If Jack Benny had a cup of coffee it would be the best cup coffee he ever had. I can’t say that I’m as positive as that, but it’s something I aim for.

Chocolate seems to be a recurring trope, why’s that?

Chocolate is important. I love it.

How familiar do you make yourself with mainstream culture? Do you absorb it and regurgitate it, or avoid it and work in a hermetically sealed bubble?

I can’t say that I pay much attention to mainstream culture. I am around it, and probably absorb some of it, but not enough to hurt me.

Your music has always seemed so clever, are there any dumb-ass party songs or bands you like to listen to?

I wouldn’t call them dumb-ass, but I think of Brave Combo as being a party band. I like them a lot. They are a real fine live band.

Peter Buck called your early 7”s over-worldly, yet this feels more like an out and out rock record, with some other-worldly lyrics, what’s your assessment of it?

My brother and I just did what came natural. To me it doesn’t seem other-worldly, because it was my world. It just seems normal.

It was produced by John Dieterich from Deerhoof and he’s certainly added some higher-fi heft than normal, how much input did you allow him, was it always part of the plan to give this record added oomph?!

John was great to work with. He also mixed and mastered the album I did with Strobe Talbot, and he plays on the album with R Stevie Moore. Half Japanese has started work on another album. John has agreed to produce that one too.

You’ve always resolutely not learned chords or traditional playing techniques as a matter of choice, have you ever been tempted?

I know a few chords and will tune my guitar every now and then, but I usually don’t. I like the sound I’m able to get with an untuned guitar. There is no way that I could get the same sound or feel if I felt I had to play chords.

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On your website you say you will write tunes for any occasion for money, what’s been the strangest request you’ve had?

I’ve done a lot of songs for people. I’m working on two this week. The strangest request was for a song which was also a marriage proposal. I felt some pressure doing that one. I’m glad to say that she said yes, and they are now married.

How fulfilling is making your art?

I enjoy doing it, and it’s great that people appreciate what I’m doing.

How do you differentiate between the art you make and the musical art you make?

It all comes so natural to me. I can’t say I give it much thought. I just do it.

You have a patron in magician Penn Jillette, what tricks has he taught you?

Penn and Teller are great. I started writing to Penn right after the first single came out. Teller taught me how to make a coin vanish. Half Japanese had a show in Los Angeles in 1985 and Penn and Teller were on stage with us during part of our set.

The infamous Nirvana ‘In Utero’ tour was 21 years ago now, how do you remember it?

I was at the airport in Toronto and picked up a copy of Spin magazine which had an interview with Kurt. In the interview he said that Half Japanese would be the opening band. That was the first I heard about it. I called my booking agent and she told me that she had just been contacted about it. I was surprised at how young the audience was. It was mostly kids in their teens. On the first night we played some fast songs and some slow ones. Every fast song went over well and every slow one bombed. For the rest of the shows we only played fast songs.

Did you realise at the time how significant Kurt’s legacy would be, or how significant his patronage would be?

Nirvana was a great live band. I like the records, but I think they were much better live. I’m glad we were able to do the tour.

What did you learn about Kurt on tour?

Kurt kept to himself. I was around him a bit, but I spent more time with Dave and Krist.

He was wearing your t-shirt at the end, how did that make you feel?

It’s good to know that Kurt liked what we did. I doubt that he gave much thought to what t-shirt to wear on that day. It’s just sad.

You’ve played with so many amazing musicians but what would be his dream line up looking back. The Jad Fair super group if you will?

I once did a show in New York with Don Fleming, Ira Kaplan, John Zorn, Steve Shelly and Thurston Moore. That was a pretty wild show.

When you pass on (hopefully a long long time from now) will your spirit be a love song or a monster?

It will definitely be a love song.

Overjoyed by Half Japanese is out now on Joyful Noise Recordings. Enjoy this footage with Jad and the band.

The Wytches

The Wytches – Digsaw

tthewytches_brightonBrighton has a strange but pleasant scene. Be it, music, skateboarding, art or general culture, you can pretty much discover something interesting on the coastline down there without having to dig too hard. We discovered The Wytches at a show in London last week, a new band that have just released this new video and are making themselves heard in the run up to the 2013.

If you take the psych garage-rock vibes of the 13th Floor Elevators and MC5, then pound them into your ear canal with a dose of Bleach era Nirvana, you will be somewhere close in finding their sound. Of course though, every band has it’s own unique formula and The Wytches deliver noise filled, catchy tunes that are worthy of your time.

Keep an eye out for them.

Danny Goldberg interview on Cobain, Nirvana & Nevermind

You have probably noticed that the internet right now is talking a lot of Nirvana, and reminiscing on a lot of grunge related topics due to the 20th Anniversary of Nirvana’s Nevermind record. At the time of its release, the band were managed by Danny Goldberg and John Silva at Gold Mountain Management in the USA who watched this album’s popularity grow overnight and then explode. This week at Music Radar, Goldberg is interviewed and discusses discovering the band and how Nevermind became a phenomenon.

Read the full interview here and get an inside scoop of the band that killed off soft rock overnight with quotes like this:

You know, Kurt didn’t become a star by accident, he became a star on purpose. Then he found out he didn’t like everything that came with being a star. It was hard for him. He didn’t like being recognized on the street or in airports, and stuff like that. But that doesn’t mean he didn’t want to be successful, because he absolutely did.”

The Sonics interview

Punk rock in the late 70’s was said to have come from the UK. The Sex Pistols claimed the tag at that time and propelled the image of bored, rebellious youth as we know it. Looking back to the roots of this anarchic disposition it’s easy to pick up on the fact that their influences and many other household names we know today from the punk genre such as Iggy Pop and The Ramones to name just two, took their inspiration from the garage rock scene that spread through the suburbs of American youth culture in the early 1960’s.

Back then rehearsal rooms and studios were not a luxury like in today’s cities, so setting up your gear in the family garage, shouting the odds through a microphone and making as much noise as possible was the order. That spark, that uprising brought Garage Rock (also known as Garage Punk) into the underground, ignited by a network of bands taking their pre-rehearsed tracks into local venues and releasing 7″ records to reach others in different areas and quite literally exploded as the sound of teenage rebellion.

This sonic throwback of the surf rock scene spawned one of the best bands of all time from Tacoma, Washington called The Sonics and knowing that they were in town for the Meltdown Festival curated by The Kinks frontman Ray Davies, Alex Penge hooked up with Rob Lind (saxophone and vocals) and Larry Parypa (lead guitar and vocals) before the show at the Mint Hotel in London to find out more about the band who are said to have kick started the ‘punk’ movement.

Welcome to London. Are you looking forward to your upcoming show at Meltdown with Wire?

Rob: Very much so, yes. It’s going to be a lot of fun.

Have you met Wire before? Have you played any gigs with them in the past?

Rob: No, we’re aware of Wire’s great reputation, but we have not heard of them.

Larry: …which is why when we went in there (for the sound check) and adjusted all our amps for them. So it wouldn’t sound like crap!

Tell me more about the Washington garage rock scene where it all started off. Apart from The Wailers (your manager, Buck Ormsby’s band), were there any other bands that fell under the radar?

Rob: The Pacific Northwest which that area is called was a real a hotbed for rock and roll bands. There were lots of good bands. Lots of good people came out of there.

Larry: Like Jimi Hendrix?

Rob: Well The Ventures did have a great reputation and a lot of worldwide hit records when we were young guys starting out. We liked their music. There was another band called The Frantics.

Larry: Uhh ho, gee!

Rob: They were killers. They were real good. But they didn’t really get much notice outside the local area.

You were famous for your pioneering recording techniques and arguably influenced a generation of garage rock revivalists. Did you at the time think that this technique was going to catch on and influence a lot of people?

Larry: There was no choice. We didn’t have any choice at the time. There was only two-track recording available. Mono sound on the first record. We didn’t have four-track until the later albums.

So it all started off just trying to get the record out in the first place?

Larry: Well it’s a standard, you know. We played live essentially. It wasn’t like each person had their own track and if they made a mistake they could redo their bits. We just went in there and usually did the band all at once. Then the vocals would top it off later.

Rob: It was a two-step recording process. Step one would be to roll the tape. Step two would be to play.

Rob: Those recorders were in a variety of different recording facilities. We’d go in the studio and whatever was in there we’d use.

Larry: I think (the recording) of ‘The Witch’ was in a radio studio where they cut the ads and somehow gave us the room to record. It wasn’t in the real recording studio I remember?

Rob: “Go in here boys and knock yourselves out!”

Were there any other cover songs that you were thinking of covering for the ‘Here Are The Sonics’ album that eventually never made the cut?

Rob: No, I don’t think so. ‘Leave My Kitten Alone’ (by Little Willie John) wasn’t on that album but we liked that song a lot. We don’t play that song anymore. Half a dozen songs that we played regularly on those albums we don’t even play now. We also have a new record with four original songs and we’re playing those in our sets now.

What was it like sharing stages with bands such as The Beach Boys and The Shangri-Las?

Larry: It would be interesting if you asked The Shangri-Las what they thought it was like sharing the stage with us. We really screwed them over. They were doing their own tour and we were doing our own tour. Somehow an agreement was made that we were going to back them up in their songs. I don’t know why, but we didn’t learn their songs and it didn’t turn out too well! They still remember that.

Rob: We probably appeared with The Beach Boys more than any of the other big acts. We got to know them pretty well and saw them a lot when they came to the Northwest.

Larry: I think The Kinks was my favourite act to play with. I was most impressed with them.

Rob: I’d have to agree with that too.

Larry: I remember they were wearing a lot of black, they had a sinister sound and they were moving. Those guys were really something!

Rob: Back then the state of popular music in the States was really anaemic. We were up in the Northwest playing hard. I remember one day I was in my car driving down the street, I didn’t know who The Kinks were as they weren’t famous at the time and someone on the radio said, “…here’s a new record from England”. [Rob reinacts the opening of ‘You Really Got Me’]. I heard that and almost ran off the road! We all got on the phone together, “…did you hear what those guys from England are doing?! Holy cow!” After that we learnt a bunch of their songs. We loved them.

So, was it an honour meeting Ray (Davies)?

Rob: It was. We did a short tour with them when they came to the Northwest and met them at the Spokane Coliseum back in the dressing rooms. I want to choose my words carefully here. There were a numbers of large acts (and we played with most of them at one time or another) that were good in the studio but when they played live they couldn’t hold their end up like they could in the studio. The Kinks were probably even better live than they were in the studio. That’s why we liked them so much. They were great. We thought that “those English guys are just like us”!

Over the years there have been many covers of your song ‘Strychnine’ ranging from the likes of The Flaming Lips to The Cramps to The Fall. Which cover would you say is your favourite?

Rob: To be honest, I have not heard many. Actually the best version of ‘Strychnine’, the absolute best version of ‘Strychnine’ that’s out there is by this band called The Sonics! (laughs)

How was the recording process for your new EP ‘8’? Are there any plans for any more future releases? An album release maybe?

Larry: All we have to do is get together and work them out in one recording, we just haven’t done it yet and haven’t tendered to business really. We used that particular studio (Sound House studio, Seattle) and recording engineer (Jack Endino, who worked with Nirvana, Mudhoney and Soundgarden) for the EP because we wanted something that was unprocessed, by going in and getting that one-take type of song. We didn’t want to overdo it. In fact, we play the new songs differently now to how we recorded them. We wrote the songs, went in to record at the studio and now play the songs live a little differently.

Rob: The live performances have definitely adapted those new songs from the studio. We are definitely planning on making a new full length album. We’ve been on the road almost constantly during the month of June. We’ve spent three weeks in France and Belgium and then ran back across the States to Long Beach, California for the Ink & Iron Show, which was a really big show. Then we had two days to wash clothes and come back to London.

Larry: Then we come over here and the weather’s exactly the same as it is in Seattle!

Rob: If you want to know what the weather’s like in Tacoma and Seattle, it’s just like this!

Are there any tours or festival appearances planned for the future?

Rob: We actually had a tour set up this past April in Japan, starting in Tokyo, but they had that unfortunate disaster over there and the tour got pushed back. What we’re understanding now from the Japanese promoters is that we’ll be back over there for late Winter or early Spring time. We’re sad about that as we have a big fan base in Japan and are all looking forward to going over there.

Finally, what music are you guys listening to at the moment? Do you like any current British music?

Rob: I like all different kinds of music. There are bands that we play together with at these shows that we’ve never met before and become friends with. One I can name in particular is The Detroit Cobras. They’re great guys and girls and we had a great time working with them! I worked out a t-shirt swap with the bass player, so I’ve got a Detroit Cobras t-shirt and he’s running around Detroit with a Sonics t-shirt. We know The Fuzztones quite well and have performed with them in the past.

We’ve become friends with a number of different groups. In my case, most particularly The Hives from Sweden. We’re pretty good friends with them. I exchange emails with one of the guys. When we played Stockholm a year ago they surprised the crowd and came out and did the encore with us. Pelle (Almqvist) sang ‘The Witch’. Rock musicians aren’t supposed to say they like anything apart from rock music but I love Cajun music. I also love listening to Bluegrass.

When we were here the time before last, one of the groups that opened for us was The Horrors. As a matter of fact, I think they’re even more popular now than they were a couple of years ago. They had a big record out I understand? Nice lads.

Larry: Yeah, nice guys. Pete Doherty was supposed to make an appearance also. But he shunned us off! Everyone expected that though!

Read a review from the Meltdown Festival here and find The Sonics at www.thesonicsboom.com

Nirvana’s 20th Anniversary ‘Nevermind’ boxset

nevermind_sleeveNirvana’s 20th Anniversary of Nevermind will be celebrated on September 19th with the release of a Super Deluxe Edition box set from Universal. The 4-CD/1-DVD package will include previously unreleased tracks, rarities, b-sides, BBC radio appearances, alternative mixes, rare live recordings and an unreleased concert in its entirety on DVD.

Even though this was Nirvana’s most pop moment, Nevermind put a swift end to cock rock and blew the faggots out of the rock music zine almost overnight. Bands left, right and centre were running around cutting their hair, buying lumberjack-off shirts and cutting holes in their jeans whilst pretending to know who The Melvins were when this was being played on every radio station around the world.

The only negative from this news today is that I have just remembered how old I am. Press play on this for some good, old fashioned memories and get hyped on Nirvana’s most punk moment from Nevermind with Territorial Pissings.

Little Roy vs Nirvana

littleroy_nirvanaUsually I cringe at people’s versions of classic Nirvana songs but Little Roy has taken the original 7″ of Sliver and Dive and knocked out classic roots reggae versions of both tracks this week that need to be on your stereo.

Nirvana’s ‘Smell Like Teen Spirit‘ was released 20 years ago in September this year so expect more mash ups and versions of these classic tracks to be infiltrating the internet on mix tapes and general releases throughout the summer. I doubt though that any of them will come close to being as good as these.

You can find Little Roy vs Nirvana in your local shop available on a limited edition 7″, June 27th 2011 via Ark Recordings and an album that includes covers of 10 Nirvana tracks in a reggae/dub style will be released soon. Watch this space.

Zac