I’d never heard of Sweden’s Surrounded before. I’m always cautious of new music, I suffer from a struggle with fear of change and diving head-first into a new record from a band I know nothing about is a daunting task for me. What should I expect? Well…

It was a Friday morning when I realised Surrounded’s Oppenheimer and Woodstock is essentially the soundtrack I needed 5 years ago when I was hiking through brush and dirt, trying desperately to complete my Duke of Edingburgh Bronze award, and I think I’ve worked out the reason for this sudden urge to go back in time with this record.

It’s the spaciousness. Oh, the spaciousness. You are literally Surrounded by it. I can remember me and my buddies trekking up the steepest slopes and sleeping in the roughest of weathers but this is all why Oppenheimer and Woodstock would’ve been essential – it conveys to me those emotions you get when you suddenly think “Wow. I’m alive. This is it. This is really the world here, man.”

I mean, I’m only 18 years old – but I do hold on to those memories and emotions fondly. I think the whole group of guys I participated with do, too. I can just see myself in third person, four of us climbing this slope in the dazzling autumn sunlight and ‘1000 Colour Clash’ is playing like some epic advert for Centre Parcs that would make you actually want to go there. The progression in the riffs, the sheer attention to detail in the loops and samples and synths and sounds. This is effort in a record.

And some of it is just goddamn haunting. Another scenario that instantly forms in my mind is of last winter. All that snow. I can remember getting off the train to visit my girlfriend, who lives in a small, rural village so to speak – and it was blanketed with white snow. The album’s 6 minute opener, ‘Terra Firma Legion Farewells’ – would’ve made that walk to her house so goddamn perfect I can’t even begin to describe it to you. It’s as dreamy as I feel right now bringing all these thoughts to the front of my mind.

The sheer scale of the melodies; the haunting, craving vocal delivery, create this bridge between the gushing, open world; with a spider spinning a web so delicate it’s obsolete in the world as a whole. Because Surrounded take you on a journey that’s only undertaken ever so rarely in a record: it is not diverse. It is not exciting. It is not experimenting with genres. This is, arguably, ‘just shoegaze’. There is, arguably, no progression or ‘standout track’ – but the more you listen to this LP, the more you notice the drop of morning dew or the crispy autumn leaf or the most fragile snowflake that is in the corner of every track; putting the whole thing into this awesome perspective.

You just end up ‘getting it’. I think it’s in the last precious seconds of closer ‘Glycerine For Disneyland’ when ‘surely this can’t be the end,’ starts running through your mind, as it is flat in comparison to the rest of the record, but it makes you want to play it again. That is where your adventure with this album really begins and ends. Some people won’t have picked it up. It’s easy to pass this record off as boring and bland, I can understand that.

But some people on the other hand… well, you’ll just know if you’re one of them. This record is soft and pale, but it’ll hit you hard and fast, and if it does – you’re in for something special.

On the back cover of his latest album Dan Sartain is pictured mooching around in the fresh vegetable section, pencil moustache arched in quizzical fashion and with a look of surprise in his eyes. He looks like a young John Waters out doing a spot of shopping for others, rather than a mid twenties songwriter who, along with Jack White, is doing his best to exhume the worm eaten cadaver of rock ‘n’ roll and breathe some life into its fragrant corpse.

Rock ‘n’ Roll in this form has long been something of an underground concern – not that it’s dead and buried of course. It’s been stalking the earth in some shape for the last sixty years at least, changing form with every passing generation.

Lives proves that Sartain is not interested in the modern mode at all, and this collection of songs seems out of place on a CD. It’s far too modern a format. These songs should probably have never been released on album either such is their apparent place in the rock ‘n’ roll firmament. You rather fancy that had the option been available, they’d have all been released on 7″ vinyl in straightforward card sleeves.

As someone for whom authenticity is vital, it’s no surprise to find that Lives was recorded in Toerag Studios – the place to visit if you’re serious about recording things just the way they used to back in the day. It’s the studio of choice for White Stripes these days, so it’s natural that someone in thrall to those warm sounds of rockabilly guitar and the hum of the valve amp should wind up there.

Songwise, Sartain is clearly a master of his art, as he’s proved consistently on his previous albums (Join Dan Sartain and Dan Sartain vs The Serpientes), and if 2010 wasn’t listed as it’s release date, it would be easy to believe that this was a reissue of some dusty old forgotten relic. Ultimately the problem that lies at the heart of this album is that had it been released in the 50′s or 60′s it would almost certainly have been forgotten.

There are some great moments here, of that there is no doubt. ‘Atheist Funeral’ for example is a fantastic zombie stomp, with a enormously catchy chorus and a nicely wired guitar solo. ‘Bohemian Grove’ finds Sartain cutting a rug in the mid-sixties with a demonic look in his eye and a flick knife in his boot. A nicely pitched vocal that suggests menace gives the song a little edge (in fact at times he sounds like Dwarves Blag Dhalia here). The garage fuzz of ‘Walk Among the Cobras IV’ is also a particular highlight, fizzing with a frantic energy that still has the ability to sound threatening, despite the fact the main riff sounds at least twice as old as the guy who’s playing it.

However for all the moments where he borrows licks from Dick Dale (opener ‘Those Thoughts’) there’s an equal amount of pedestrian songs that just sound a little limp. ‘Praying For a Miracle’ for example hardly sets the pulse racing with its dainty rhythm suggesting a skip around a herb garden rather than good old fashioned blood and thunder rock ‘n’ roll redemption. Likewise, ‘Bad Things Will Happen’ just doesn’t sound aggressive enough in its delivery and the backwards guitars float around in an unfocused haze rather than adding the acid fried tones that they were surely supposed to.

Sartain is a fine exponent of classic rock ‘n’ roll however, it’s just that on this occasion the songs aren’t as on the money as they should be. A shame then, but if that run of 7 inches ever materialises, then it’ll definitely be worth grabbing at least half of them, and you can bet the b-sides are going to be amazing – that’s where they used to stick the weird experimental stuff after all.

First off, here’s a confession. Having heard ‘So Tomorrow’ some time ago, I saw fit to deride Official Secrets Act as a load of old pony. It’s not a nice thing to have to do, but I hold my hands up and now admit that the bastard thing has grown on me somewhat. I’d even go as far as to admit that I’m rather fond of it.At the first time of hearing OSA I promised myself I’d never listen to them again, but then I happened upon ‘Something That You Want’ (not a track included here mind) and fell for its ridiculous pomp as it staggered about like a drunken T-Rex.

Another attempt was required. Pushing Steve Lamacq’s patronage to the back of my mind (he’s like a punter that backs every horse in a race, that bloke) it was with a sense of hope that I pressed play and prayed that I wouldn’t be let down.

About a year ago it seemed as if every band were pillaging the new wave graves, dressing up the bones, and claiming that the finished result didn’t stink and wasn’t terribly thin. OSA don’t quite fall into that category. It is true that there is a definite new wave element to their sound; it’s there in the throbbing bass line to ‘The Girl From The BBC’ or the angular guitar of ‘So Tomorrow’ and the opener ‘Mainstream’. But, where OSA differ, is that they’ve got more than one trick. This is not a whole album of economical drumming, clever spiky guitars and dry production. Understanding Electricity touches on those elements, but there’s so much more going on here than a bunch of two minute workouts. What sets Official Secrets Act apart from all the others in the new wave tsunami is vocalist Tom Burke who is versatile and clever enough in his delivery to keep things interesting and a band willing to try to be different – whether it works or not.

Understanding Electricity kicks off at a hell of a pace. Like a toploaded spliff, most of the fun can be found in the first few minutes. That’s where all the jerky arrangements and thundering bass lines can be found. ‘Hold The Line’ possesses a brilliantly funky bass run that comes straight from the 80s in the chorus. As such, it’s no surprise that Tears For Fears get mentioned at least twice in its duration.

After all that fun, Official Secrets Act need a bit of a sit down; if it’s quite alright with you.  ‘A Head For Herod’ is quietly brooding and atmospheric, handily showing off Burke’s crooning and the band’s capability to switch gears. It builds slowly towards what should be a climax, but somehow after six minutes the payoff never quite arrives. It’s all pretty enough, but you can’t help but feel cheated by the end. ‘Momentary Sanctuary’ has some brilliantly proggy keyboards dancing over proceedings but never really gets going. And then there’s ‘Bloodsport’, a song so 80s it might have appeared on one of those Now Albums with the pig on, the a caption reading “Bloodsport – spent 2 weeks at number 14 in June 1982, then sank without a trace.”

Things get back on track with ‘Victoria’ which has something to do with terrorism apparently. Not that you’ll care, the important thing is that it doesn’t sound like a Thompson Twins b-side. You’ll get lost in the stabbing drums and the vaguely honky tonk piano and thank god that OSA have cleared their heads and got back to having fun.

Then it all goes wrong again. ‘December’ is ill conceived and sounds like it should be in the background of a report from Judith Chalmers. All it lacks is steel drums.

Redemption comes with ‘Under The Flightpath’. Might be thoroughly boring to some, but seeing as it is has the vibe of a blaxploitation soundtrack written by Brian Wilson I can’t help but love it.

Official Secrets Act aren’t the great white hope that some would have you believe, but Understanding Electricity has enough high points to suggest that in time, OSA is a band who could come up with something very special.
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Official Secrets Act on Myspace

With a new album just the other side of Christmas, we caught up with Asobi Seksu for one of our last ever 20 Questions (quick, someone pass me a tissue). Will they make it a memorable one? Read on…

1. Describe your sound in 3 words.
Psychedelic trance pop.

2. What was the first record you ever bought? And where did you buy it?
Embarrassingly enough i think it might have been a Rick Springfield tape, the one with ‘Jessie’s Girl’ on it.

3. What’s the best cure for a hangover?
There are no cures for hangovers that’s why i don’t drink, not worth it.

4. What’s on your rider?
Nothing to fancy, diet coke hummus and pita, vegetables fruits. I think we need to add more candy.

5. How do you get ready for a live show?
Drink some coffee or soda if I’m tired, do some vocal warm ups and go out there.

6. What’s your favourite song to play live?
I am  really excited to play stuff from the new record it really refreshing and challenging to figure out the best way to present s Im ongs you have never performed before live.

7. What’s your guilty pleasure?
[No answer - Ed]

8. Who would win in a fight, a stoat or a goat and why?
A goat because I’m not sure what a stoat is, plus a goat will eat anything which is pretty impressive.

9. Who’s your favourite new band at the moment? Tell us a bit about them.
KIIIIIIIII they are a performance art and musical duo from Tokyo who have an 80s rap, hyper color neurosis vibe that’s so awesome, everything they do makes me smile.

10. Who would play you in a film based upon your life?
I’m not sure i don’t get a lot of “you look like so and so”  so ill just be safe and say Tom Petty

11. Dead or alive, what 5 acts would you have play with you at a festival?
My Bloody Valentine, Tom Waits, The Smiths, Sonic Youth and The Velvet Underground

12. If push comes to shove, what is your all-time favourite album?
Uggh I suppose Loveless

13. What’s your most memorable on the road story?
Oh too many to count, lets just say Huntsville, Alabama

14. If your life flashed before your eyes, what would be the highlights?
Writing music and playing good shows, and my cat.

15. What’s the best piece of advice someone has ever given you and did you take notice?
Life is short, filled with stuff. I did take notice because its true!

16. If you had to leave a body part to science, what would it be?
My forehead.

17. What’s the best book you’ve read and film you’ve seen in the last 6 months?
Just finished reading “The Name of the Rose” by Umberto Eco its pretty great. After the last tour i watched Starship Troopers and the Karate Kid in a row in bed, that was awesome.

18. What three things could you not live without?
Cigarettes, Coffee and clean socks.

19. Tell us a fact about yourself we probably don’t already know.
Mariah Carey went to my High School

20. And finally, we’d like you to make us a mix-tape. Pick five tracks with a theme of your choice.
Self Pity
1. Asleep by The Smiths
2. Spread Your Wings by Spiritualized
3. Funeral Party by The Cure
4. A Little Rain by Tom Waits
5. I’m So Tired by The Beatles

Asobi Seksu on Myspace

The first thing to point out is that this is one of those trickiest of releases: a live album (for further discussion of the pros and cons of these, see our forum here.  So anyway, Jesse and chums hosted two nights in New York last Christmas as a festive celebration, and recorded them with a view to making this record at the same time, now duly edited into a cohesive whole and released in time for this Christmas.  Neat.

Malin explains, during one of his many reasonably entertaining between-song talky bits, that “the fun thing about this show is that we’re gonna do different versions and arrangements (…)  You get to play the songs the way that you wrote them“.  It’s therefore clear, right from the off, that this is an album that is going to work best for people who are already fans of Jesse Malin.  Someone like me who is thus far unfamiliar with any of Malin’s previous recorded output will not get the fun of being able to compare live, stripped-down versions against his original releases, as intended, although can still enjoy the songs in the contexts in which they are here performed.

As well as presenting the tracks with new arrangements, Malin also offers more information to fans in the form of little explanations, with which he prefaces certain songs.  So ‘Hotel Columbia’, from 2004′s The Heat is, he tells us, about a time when he was staying in a creepy European hotel on tour, while feeling that he was missing out the ‘normal’ life being lived by his friends back home, while ‘Cigarettes & Violets’ from 2002′s Fine Art of Self-Destruction is described as “… about being in love with somebody who’s a big mess.  Then it ends, and you realise “that’s why I liked them”.”

He plays a range of songs from each of his solo albums The Fine Art of Self-Destruction (2002), The Heat (2004), Glitter in the Gutter (2007), as well as some cover versions from 2008′s On Your Sleeve covers album – notably the appropriately festive/maudlin ‘Fairytale of New York’ with which the album ends.  A seasonal feel is also lent to the album by Malin’s between-song references to the joys of Christmas in New York, even for one as non-religious and Jewish as he, and the inclusion of ‘Xmas’, again from The Fine Art.

So this is a nice, Christmassy, warm and celebratory listen, with a relaxed Malin clearly delighted to be playing to a home audience.  The vocals often veer to the strangely-annunciated and strangulated-of-vowel, which can jar a little (does he do this on his non-live stuff too?), but ultimately doesn’t detract enough to stop this being likeable and mellow.  Does it give you a good introduction to Jesse Malin?  Probably not: for that you would clearly be better off starting with his studio albums; but as a purchase for a confirmed fan, then it passes muster.
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Jesse Malin on MySpace

Oh Canada. How do we love thee here at The Line of Best Fit? (This Much apparently). And it isn’t just because I’m trying to move there. Honest.

This weeks devotional goes to Land Of Talk. When the Montreal based trio released their 7 track EP a couple of years back the blogosphere went into overdrive for their hook ridden grunge-lite sound. The fuzzy guitars, powerful drums and behind the bridge playing that sets off all kinds of chemicals in the brains of music fans of a certain age, and has them heading back to the cupboard to seek out the plaid shirt left there years before.

If bloggers were getting into a frenzy over their last release, God only knows will happen for this one. Let’s look at the facts. Front woman Liz Powell features on Brendan Canning’s latest album, and is (apparently) the latest in a long line of talent to become a member of Broken Social Scene, who Land of Talk are currently on tour with. If only they could have recorded the album out in the woods somewhere….oh hold on, what’s this? Ah. I See. ‘Produced by Justin Vernon’. That will be Bon Iver then. GAME SET AND MATCH Land of Talk.

But does the album match up to all that surrounds it? In short, yes. Opener ‘Yuppie Flu’ draws the listener in to the bands take on a tried and tested formula; powerful drums, chiming guitars building and Powell’s plaintive, honeyed, half asleep vocals carry the song until it explodes into a crescendo of strings, slacker string bends and glockenspiel that Sonic Youth would be proud of. These sort of slacker informed pop hooks crop up throughout Some Are Lakes, particularly on the title track ‘Got a Call’ and ‘Corner Phone’, which recalls the much underrated Giant Drag. Land of Talk are not doing anything here to break any mold, and may leave themselves open to accusations of just being a generic band. However, their sound is more than the some of it’s parts and could certainly to be a grower. In Powell’s sugar coated delivery they have a secret weapon, with the power to enchant.

At times however, when the band slow things down cracks begin to appear as they move ever closer to the middle of the road. The slow burning ‘It’s Okay’ and the acoustic closer ‘Troubled’ could pass for Fleetwood Mac, in the same way as Midlake did a few years back. If they can ensure that they keep these temptations in check it looks like there are good things to come from Land of Talk.
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Land Of Talk on MySpace

Shelleyan Orphan have been around for a good few years now. Formed in the 1980′s by Caroline Crawley and Jamaur Tayle, they released three albums before disbanding in 1992. But as this is the time for reunions, why not. Not that they’ll be embarking on an international money making tour or anything.

We Have Everything We Need is their come back record and has a distinct European feel to it. The sort of music you might hear in a middle class wine bar. Not to bring class into it but it does sound rather middle class, and kind of bland. Romantic orchestral pop that has a trip hop edge but isn’t very interesting at all. They were accused of being pretentious first time around and, after listening to some of their old tracks, that accusation is true. After some time away they have cut down on the ridiculous orchestral over pretentiousness and aimed for an edgy bittersweet trip pop sound. And to some extent they have succeeded but, whilst they have made some decent songs, there really isn’t anything that grabs you. It’s all a bit ‘background music’. You might hear it in a bar but you wouldn’t bother asking what it was and you wouldn’t have more than one drink anyway, it’d probably be 3.50 a pint!
20%

Shellyan Orphan on MySpace

We caught up with Raphael and JB from London based trio Underground Railroad whose new album Sticks and Stones was released this week via One Little Indian. What did we discover? Well, they have a thirst for Guiness (good boys), think Bullseye is one of the greatest TV shows ever (amen to that) and they enjoy the odd game of Scrabble (who doesnt?).

1.  Describe your sound in 3 words.
JB – Loud, Melodic, Pounding.
Raph – Noisy, Melodic, Edgy.

2. What was the first record you ever bought? And where did you buy it?
JB – Sadly – Ugly Kid Joe in a small record shop in Paris.
Raph – I was 10 years old, I bought that Smashing pumkins double album after hearing ‘Tonight Tonight’ on the radio.

3. What’s the best cure for a hangover?
JB – Ginger Beer.
Raph – The Cure.

4.  What’s on your rider?
JB – One bottle of Jack Daniels.
Raph – In the UK, we have no rider, promoters don’t like to give food away. In Europe, we have Jack Daniels and cult triangle sandwiches. Sometimes fruits. Sometimes a hot meal. We’re not fussy.

5. How do you get ready for a live show?
JB – Pint of Guinness.
Raph – We turn up, soundcheck and wait. If the sound on stage is comfy, then we’re ready.

6. What’s your favourite song to play live?
JB – ‘New Variety’
Raph – ‘One More Hit’

7. What’s your guilty pleasure?
JB – Bullseye with Jim Bowen.
Rap – I am a saint.

8. Who would win in a fight, a stoat or a goat and why?
JB – The stoat would grab the balls of the goat.
Raph – I don’t know those animals so well. I never came accoss any of those.

9. Who’s your favourite new band at the moment? Tell us a bit about them.
JB – I really like Deerhunter.
Raph – Great voice, great melodies, psychedelic pop music. Check ‘em out.

10. Who would play you in a  film based upon your life?
JB – Jean Claude Van Damme.
Raph – A friend of mine called Tom – he looks just like me..

11. Dead or alive, what 5 acts would you have play  with you at a festival?
JB – Blue Oyster Cult, Breeders, My Bloody Valentine, Black Sabbath, The Stooges.
Raph – Beastie Boys, Liars, The Cure, The Doors, Nirvana.

12. If push comes to shove, what is your all-time  favourite album?
JB – The Breeders Pod.
Raph – The Cure Kiss Me Kiss Me Kiss Me.

13. What’s your most memorable on the road story?
JB – Berlin, supporting Dinosaur Jr.
Raph – We drove from Innsbruck in Austria after a gig to play the next day in Koln in Gernamy. After 10 hours driving, the gig was cancelled. I’ve got more stories like that.

14. If your life flashed before your eyes, what would be the highlights?
JB – Maybe the best is yet to come…
Raph – The band, family and friends moments, travels.

15. What’s the best piece of advice someone has ever given you and did you take  notice?
JB – I need to think about it.
Raph – We used to practice in that rehearsal space near Paris. It belonged also a collective of people (Association) who organised gigs. He told us if we ever wanted to play music (successfully) we have to work our asses off (DIY)…we still do this.

16. If you had to leave a body part to science, what would it be?
JB – My hair – to help cure baldness.
Raph – My fingernails.

17. What’s the best book you’ve read and film you’ve seen in the last 6 months?
JB – The World Beard and Moustache Championships and Paris, Texas.
Raph – I’m a slow reader. I read Lullaby by Chuck Pallaniuk recently. That was great. I watched No Country For Old Men. Brilliant.

18. What three things could you not live without?
JB – Bass, Burger, Sugar.
Raph – Food. Clothes. A house.

19. Tell us a  fact about yourself we probably don’t already know.
JB – I am a Scrabble wizard.
Raph – One day I borrowed my cousin’s jumper.

20. And finally, we’d like you to make us a mix-tape. Pick five tracks with a theme of your choice.
Raph – The theme is long dirty hair:
Sepultura – Roots
Black Sabath – Iron Man
Nirvana – School
Alanis Morrisette – You Learn
Ricky Martin – 123 (if he had long hair)

Underground Railroad on MySpace

Imagine the disappointment when I learnt Rose was a lady, when I first spotted this release I thought ex-Eastender and supposed hard man Ross Kemp had gone off the rails and made a snarling hardcore punk record. However my disappoint, was abated when TLOBF’s Rich Thane admitted that Rose Kemp scared him more than a little bit. It was indisputably a reputation worth investigating further.

There is an eerie atmosphere that pervades this, before the music even starts. The artwork portrays a solitary Blackbird with blood dripping from its beak like a reject from Hitchcocks Birds. And Kemps slurring vocals flutter into Dirt Glow, before a cracked cackle brings crashing guitars to enliven the slumber. Nannys World is built around a foreboding single bar and a Jekyll and Hyde high/low vocal which is obliterated when the amps are turned up to bring some equilibrium to the dual personality.

The sound at the start of this record is akin to early, Dry-era PJ Harvey, in the days when pink catsuits were a perfect accompaniment to her raw emotion. With Rose Kemp there is however a nagging feeling that all of the Gothic stylings and tales of lost love are a bit of a fraud. This is emphasised when she thanks her band for making her sound so “heavy.” The monster riffs of the first three tracks are a smokescreen for the whimsical singer-songwriter underbelly that is hidden on tracks like ‘Natures Hymn’ and ‘Flawless’.

The “Lord of Metal” is also thanked amongst the sleeve notes but the suspicion is that he told Rose to “bog off and stop sounding like that bird from Evanescence if you want to worship at my altar.” When Rose threatens to cut your fingers off in the Unholy there is a touch of conviction to the threat but it all dissipates in a Rent-a-ghost wail.

Like the Bride of Chucky, Unholy Majesty has plenty of malicious intent but ultimately the threatening demeanour is eroded to reveal a spongy soft stuffing. Now, where is that Ross Kemp release……………..
40%

mp3:> Rose Kemp: ‘Nanny’s World’

Rose Kemp on MySpace

Suppose I crept into your room while you were sleeping, all on my tippy-toes to stop you waking up and wondering what I’m doing in your bedroom. Approaching your bed, I lean over and whisper “Icelandic music” into your ear. Chances are, you are going to dream of the splendid drama of Sigur Ros or the off the wall musings of Bjork. You’re not likely to dream of melodic soft-rock, are you? Well, now you can, as the new album from Kalli is pretty much as smooth as you can get, a collection of songs with a light touch and the sonic punch of a meringue covered fist.

Kalli himself rises from the ashes of another Icelandic band, Without Gravity, who disbanded soon after the release of their 2005 debut. Dusting himself down, lead singer Kalli took the opportunity to record this, his first solo album, taking in experiences gathered at his bands destruction. Along with producer and multi-instrumentalist Arnar G., Kalli recorded, performed and produced everything himself in downtown Reykjavik, the whole album a rather sombre affair reminicient of Deus in their quieter moments, though shades of Coldplay and Snow Patrol also creep in.

And unfortunately, its all a bit bland. The songs are unoffensive enough but tend to drift by leaving little impact before floating upwards and outwards. ‘Raindrops’ is muted and delicate, a guitar shimmy overlaid with strict bursts of guitar and plods of bass, the sort of song A-ha would have used to fill up the edges of an album back in the eighties. ‘Bridges Burn’ is better, but even lighter, the vocal the strongest aspect.

There are a number of attempts to up the tempo, particularly on ‘It’s Over’ where a rolling keyboard line whirls and spins against the melody. ‘Jupiter’ also is a fine song, with an edge absent elsewhere, and also good is ‘Morning Rain’ , with an inventive blend of strings and guitars. However, there are not enough of these moments, the end result proving far to plain and Diet Travis, if such a thing could be possible.
52%

Kalli on MySpace

In what turned out to be the most entertaining 20 Questions we’ve done in a while, NYC punk outfit Stalkers took some time out of promoting their Ramones-esque single ‘In Your Street Today’ which was released via One Little Indian last week. We caught up with Raze Regal (guitar), Andy Animal (vocals), Danny Gold (bass), Lefty Flowers (guitar) and Josh Styles (drums) to see what they made of our infamous questions. As you’d expect, the answers read like a ‘How to be a Rock n Roll band 101′: Fucking, amyl nitrate, whiskey, beating eachother up, riding motorcycles into swimming pools and the most important one of all – using human tears as a lubricant during masturbation….

1. Describe your sound in 3 words.
RAZE: Rock and Roll.
ANDY: Really Really Great.
DANNY: Drink Fuck Fight.
LEFTY: it’s pop music.
JOSH: UN FUCKING BELIEVABLE.

2. What was the first record you ever bought? And where did you buy it?
RAZE: The Who’s Greatest Hits and I bought it through Columbia House mail order.
ANDY: I think it was the Born On The 4th Of July soundtrack!
DANNY: Ace Of Base – Cause i was Hiiiiiigggghhh & Stupid.
JOSH: Misfits Earth AD Bought at Trash American Style (R.I.P.).

3. What’s the best cure for a hangover?.
RAZE: Gatorade.
ANDY: Straight Cola followed by more booze.
DANNY: More Whiskey.
LEFTY: Probably more booze.
JOSH: Bottle of orange Gatorade with 2 Alka Seltzers in it or a hair of the dog.

4. What’s on your rider?
RAZE: Cigarettes-Camel lights or Nat Sherman mcd’s, ginger ale and clean towels.
ANDY: Jagermeister and socks.
DANNY: Socks, Jager, Poppers and Astronaut Ice Cream.
JOSH: Jack Daniels, White Castle & Baby Powder.
LEFTY: Socks.

5. How do you get ready for a live show?
RAZE: I just relax, talk to the squad and smoke tons of cigarettes.
ANDY: I walk back and fourth on the stage for a while to get a feel for what I’m in for.
DANNY: Rub one out.
LEFTY: find Tantric Harv, he’s normally got the beers for the boys.
JOSH: Get drunk.

6. What’s your favourite song to play live?
RAZE: it changes every gig but at the moment ‘Chez Jay’s’
ANDY: Anything new! ‘Lady Sonia’ is good.
DANNY: Personally, ‘Lady Sonia’
LEFTY: ‘Feral Child’
JOSH: ‘In Your Street Today’

7. What’s your guilty pleasure?
RAZE: I don’t really don’t consider it a guilty pleasure but the squad might, Steely Dan.
ANDY: I’m not ashamed of anything I like.
DANNY: Bob Dylan & Weezer.
LEFTY: Crying.
JOSH: I Never feel guilt.

8. Who would win in a fight, a stoat or a goat and why?
RAZE: Without doubt the stoat, it’d bite the goats udders.
ANDY: I don’t know what a stoat is.
DANNY: FUCK Knows.
LEFTY: A stoat is a vampire goat right, so the stoat.
JOSH: Who cares?

9. Who’s your favourite new band at the moment? Tell us a bit about them.
RAZE: Electric Shadows, they have the swagger of the Faces with the tunefulness of Nick Lowe, check them out.
ANDY: Sean Kingston. He’s a 16 year old from Miami!
DANNY: Hmm…i don’t really listen to new bands. Nothing past 1979 for me.
JOSH: I Don’t Like New Bands.

10. Who would play you in a film based upon your life?
RAZE: A man with a hat and a tan.
ANDY: Johnny Depp or Brad Pitt… Obviously!
DANNY: Andy would be played by Brad Pitt, I think Ewan Mcgregor would be Me. Lefty would be played by Orlando Bloom (cause he cries a lot) Josh would be Mel Gibson and Raze would be played by non other than… Morgan Freeman.
LEFTY: Either Orlando Bloom or Keira Knightly.
JOSH: O Lucky Man era Malcolm McDowell.

11. Dead or alive, what 5 acts would you have play with you at a festival?
RAZE: Wendy and Bonnie, the Kinks, Ghostface Killah, Brian Auger-Julie Driscoll and the Trinity, the Nazz.
ANDY: Jan and Dean, Cuddly Toys, Monkees, Motorhead, The Who, Snoop Dogg.
DANNY: Ex-Humans, Electric Shadows, The Hunt, The Weight and Amy Winehouse.
JOSH: Ronnie Bird, Outsiders (Dutch), GG Allin, Screaming Lord Sutch, Ramones.

12. If push comes to shove, what is your all-time favourite album?
RAZE: How dare you.
ANDY: Beach Boys Shut Down Volume 2.
DANNY: I would go with the Damned first album Damned Damned Damned.
LEFTY: Tir Na Nog’s first album
JOSH: 1st Love LP.

13. What’s your most memorable on the road story?
ANDY: One time I rode a motorcycle into a swimming pool.
DANNY: Beating the shit out of each other on top of a hill somewhere in Beverly Hills.
LEFTY: Wrestling our UK tour bus driver, Russ the Bus, in a patchy knoll of grass outside a Little Chef.
JOSH: When Andy drove the motorcycle into the swimming pool at that party in LA.

14. If your life flashed before your eyes, what would be the highlights?
ANDY: My first three way, our first show in Paris, the birth of my niece and buffalo wings.
DANNY: Fighting & Fucking.
JOSH: Falling In Love, Acid Trips, Sex, 1st time you hear an amazing song.

15. What’s the best piece of advice someone has ever given you and did you take notice?
RAZE: My mother told me always look sharp and I think I try to the utmost.
ANDY: I always tell people not to beat themselves up. It does work sometimes.
DANNY: A) This Too Shall Pass B) It Is What It Is! words to live by.
LEFTY: Don’t juggle grenades, don’t play in traffic, not yet.
JOSH: If you’re having fun somewhere, stay there.

16. If you had to leave a body part to science, what would it be?
ANDY: Somebody elses’.
DANNY: My spectacular Abs of Steel.
LEFTY: One of my kidneys.
JOSH: I want to be cremated. I’m selfish like that.

17. What’s the best book you’ve read and film you’ve seen in the last 6 months?
RAZE: Best book- The Spook Who Sat By The Door by Samuel Greenlee. Best movie- The Pope of Greenwich Village.
ANDY: Hush volume 1 and 2 and The Dark Knight!
DANNY: Best Book – S. Freud – Civilization and its Discontents. Best Film – Bad Santa.
JOSH: Book: Black Dahlia Avenger / Movie: Spirits Of The Dead.

18. What three things could you not live without?
RAZE: Fender Telecasters, sex and reading.
ANDY: My Band, Sex, booze.
DANNY: My bass, my pornography, my converse sneakers.
LEFTY: The 86 Mets, Poppers at the Gates, Tantric Harv.
JOSH: Sex, 45rpm Records, Alcohol.

19. Tell us a fact about yourself we probably don’t already know.
RAZE: (silence)
ANDY: Like devils on a Ouija board I’m spelling doom.
DANNY: I masturbate using my tears as lube.
LEFTY: I have one working kidney, and webbed toes to boot.
JOSH: I don’t eat the crust on bread.

20. And finally, we’d like you to make us a mix-tape. Pick five tracks with a theme of your choice.
RAZE: The theme would be ‘Regal in summed up in 5 songs’and the 5 tunes would be
Beach Boys- ‘I Wasn’t Made For These Times’
Iggy and the Stooges- ‘Shake Appeal’
The Nazz- ‘Elo It’s Me’
James Brown- Mind Power
Suicide- ‘Gost Rider’
ANDY: ‘Astral Joe’ by Cuddly Toys
‘City Kids’ by Motorhead
‘Funny Funny’ by Sweet
‘California Girls’ by Beach Boys
‘Your So Good To Me’ by Beach Boys. The theme is friends and lovers!
DANNY: Ok, my theme, Top Songs that start with ‘All’
‘ALL Of My Friends Were There’ – Kinks (off VGPS)
‘ALL My Loving’ – Beatles
‘ALL Kindsa Girls’ – Real Kids
‘ALL I Really Wanna Do’ – Bob Dylan
‘ALL I Have To Do is Dream’ – Everly Brothers
LEFTY: A mix what?
JOSH: Theme: Serial Killers
Hollywood Squares – ‘I’m The Hillside Strangler’
Child Molesters – ‘I’m The Hillside Strangler’
Chain Gang – ‘Son Of Sam’
Dead Boys – ‘Son Of Sam’
Mentally Ill – ‘Gacys Place’

Links
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