The last couple of years have been hectic as all hell for CARLA HARVEY...from getting into a long-distance relationship with ANTHRAX drummer CHARLIE BENANTE, leaving her bread-and-butter band BUTCHER BABIES, starting her own band by the name of THE VIOLENT HOUR, and also becoming a part of legendary Belgian electronic ensemble LORDS OF ACID...she's tested more waters than Flint, Michigan's department of health and safety. Matt Denny sits down with both Carla and Charlie to get the low down on everything from the crazy, to the creative and even down to the collectibles...

MATT: BEFORE WE GET STARTED ON THE NEW MUSIC, HOW ARE YOU NOW FINDING YOURSELF BALANCING YOUR NON-MUSICAL PROFESSIONAL LIFE, WITH THESE NEW MUSICAL PROJECTS?

CARLA: "It’s honestly a bit trying. I’m currently in a hotel room in Phoenix where I’m doing my 9-5 job and taking my lunch break to talk to you. Then I have a show tonight with The Lords Of Acid as their Acid Queen. But I really thrive on being active. I guess I’m just wired that way.

Even before I had this job now (Grief Specialist, end-of-life Doula, and Thanatologist) I was always busy doing something, whether it was drawing, or writing. I don’t like to sit still. Having a day job keeps me grounded and I’m passionate about it as well.

Musicians generally have to have a job when they go home nowadays. I prefer having a job rather than couch surfing (laughs). It’s just the nature of the business as things have changed and it is hard to sustain your life of of the income that you  make as a band. 

It's incredible to be able to go on tour and play music for people but the older that you get too, you start thinking about things like stability and health insurance and all these things. In the States these things are very real and I don’t thrive on not having things. I’m better when I’m comfortable, a roof over my head and a nice meal".

OK, SO, LET'S TALK ABOUT THE NEW EP AND THE WRITING...

CHARLIE: "The first song we worked on was "Sex And Cigarettes". I had the music for that for years and I really didn’t know who to apply it to, and once we confirmed that this was to be Carla's next project/new band, that was the first song that we worked on and that went really well. Then it kinda went to the next song which was "Hell or Hollywood". I would just have these songs, these riffs and Carla would ask ‘What Is That?’ and I’d say, ‘well it’s nothing right now but it’s going to be something’ and she’s like ‘could that be for me’ and I’m ‘Of Course’ so that’s the way it went".

WHAT CAME FIRST? THE MUSIC, OR THE LYRICS?

CHARLIE: "The Music"...

CARLA: "To be honest I have lyric books that I’ve had my whole life so I’ll pull something. I cut the "Sick Ones" from a journal from 1997. So those little snippets of lyrics that I have  from throughout the years that I’ve always wanted to use. But I have to kind of assess the song and feel. I immediately know what I want the song to be about when I hear it and then I’ll write the lyrics from there.

It was a very cool and organic process writing with Charlie. He’d get his guitar out most mornings after we’d have coffee and he’d start playing something and as he said I’m like ‘What is that riff for? Can I use that for my project?’ and I think Charlie could see that I was in a dark place after the band I’d been in for 15 years and started which was my baby was kind of gone from me. I didn’t know what I was going to do next and he helped the process by starting to write the songs with me and not letting me get too down in the dumps or take too much time away from being a musician".

WAS THERE A DEFINING MOMENT, WHERE YOU THOUGHT THIS WOULD BE A GOOD IDEA? WHERE THE INCEPTION OF THE VIOLENT HOUR CLICKED FOR YOU?

CARLA: "I don’t know if there was a single moment, I just knew that music wasn’t over for me. I think Charlie knew that and he gave me this great gift of writing this EP with me". 

CHARLIE: "I had finished with the Anthrax record. All the writing and all that,  but I had so many songs laying around an this gave me a chance to dust them off. I love writing in this type of way. I would often say this, with Joeys voice; when I hear Joeys voice I immediately write those type of songs. When I hear Carla’s voice I immediately start writing THESE type of songs. Which is very strange but, it does things to me..."

ARE YOU NERVOUS WHEN IT COMES TO SHARING IDEAS TOGETHER?

CARLA: "I think I’m more nervous than he is. Most of the day he’s my fiancé, it’s Charlie. But I’m quite aware that he is also a prolific writer and musician. But when you’ve been together for the best part of 10 years your relationship  outside of creating music is quite different.

I was nervous at first. I’m more comfortable now with it. I think I just want him to like what I’m doing. In some instances I like something ands he doesn’t then I have to stick up for myself and say ‘No. This is what I think the lyrics should be’, and so I’ve gotten a little bit more aggressive, wouldn’t you say Charlie? We both have very strong opinions. I think. But I do let him take the lead on the music side of things and he lets me take the lead on the vocals and the lyrics". 

CHARLIE: "Absolutely. I think you’ve gotta choose your battles and, if I’ve learned anything from being in a band  with the Anthrax guys. I would bring in  a full song, sometimes the way I interpret the song is different in the way they may interpret it.  So, if I give them a demo, here’s the way it is. Sometimes I’m very adamant about I really want it to be like THIS. The feel of this is like this. But for the most part, I let them do whatever they want because they’re great at what they do. So, I have to give a little to that.

I say ‘ Here, what can you bring to the table with this one?’ and for the most part like 85-90% they get it right. So with Carla, knowing the type of music that drives her, I wouldn’t giver her something she’s going to hate. Why would I do that? (laughs) It’s a waste of time. So if I write something in the realm of  this type of thing, I know it’ll excite her and inspire her. I think that’s the most important thing is inspiration". 

HOW HAVE THINGS CHANGED CREATIVELY FOR THIS NEW EP?

CARLA: "I’m digging deeper into myself and just exploring all sides of myself. I was a kid from the Midwest that loved Rush and Lynrd Skynrd, Guns N Roses and also Pantera and things like that.  But I loved classic rock. There’s just so many things that I wanted to dive into. Just who I was back when I was a 13 year old kid and just pay homage to that kid who would be completely in awe of her life right now.

I wanted to write about things that didn’t have a place in my last band. "Hell Or Hollywood" is about the move to Los Angeles and how it felt  when I first stepped onto Sunset Boulevard in 1998 as a young girl who drove across the country by herself. I wanted to write about these things that were a huge part of my life. I wanted my story to shine through on these songs". 

DO YOU FIND IT FREEING NOW, IN A WAY, BEING AWAY FROM THE EXPECTATIONS OF BUTCHER BABIES?

CARLA: "This is the first time in 15 years that I have a blank sheet in front of me that’s mine and my own completely. The one thing I had to get over was what people would want from me, because I’d been doing some masculine guttural vocals for so long. I had to get it out of my head that’s all people wanted to hear and I had to think back to what I love and what I wanted to do and be excited by it.  Looking at that blank slate and thinking I can do what I want now. At first it was  really scary but in the end it became the most liberating feeling that I hadn’t had in a long time.

I remember being in a room, writing "Sex and Cigarettes" and thinking to myself ‘OK. It’s going to be okay. I’m going to be okay’ and the whole vibe for writing music came back to me in that instant".

CHARLIE: "I think the most important thing for a vocalist is you want to be as versatile as possible. I always take it back to The Beatles and Paul McCartney. There are things that he does with his voice where you think it could be another singer. Paul can sing rather softly or he can put a lot of rasp onto it as well.  And Carla can sing where she can also use her voice (which I call an instrument) can make it deepen, and as Cookie Monster as she wants (Carla laughs in the background) if she wants to, as that’s a whole other style that she has and she created  for females and I think that if the time comes like in "Sick Ones" where she brings it out just a little bit more in the high pitch type of way. But there’s going to be a song or two on the next EP which she may bring out that instrument. It just depends".

CARLA: "I’m currently on tour with The Lords Of Acid and it’s a whole different style of singing. Almost pop R&B in a way. So this year there has been a lot of growth and it’s really nice to hear that people are enjoying the other side of me".

HOW HAVE YOU MANAGED, REGARDING NOT WRECKING YOUR VOICE, THROUGH THE COOKIE MONSTER STYLE VOCALS, WHEN THERE ARE QUITE A FEW THAT HAVE? WHAT TRICKS DO YOU USE?

CARLA: "It hasn’t wrecked mine as over the years I’ve learnt not to do it from my throat but from my diaphragm. As a singer you use your whole body and it became second nature to do those screams on tour. Especially with all the running around and jumping around and still being able to do them. So now I have to learn how to do the same thing with singing so hopefully that becomes natural. So far it’s been going well on this tour.

So I drink water and tea all day long, as right now I’m doing an hour and a half set by myself as a vocalist for the first time in years. So I’m the only singer and it’s quite different but I have a little nebulizer that I use. I gently hum throughout the day. I drink a lot of throat coat tea and I try to be as quiet as I can be through the day. I’m not as much fun on this tour (laughs). I have to alienate myself and just shut up all day. I’m more worried about being great for that hour and a half that I’m on stage than I am about partying (laughs). You gotta do what you gotta do".

WHAT DO YOU DO TO GET READY FOR A SHOW?

CARLA: "On this tour I do some high kicks and jumping jacks. I still do the cookie monster growls as it seems to loosen my voice. I like to be a little nervous before I go onstage so I get worked up and then when I’m up there I can just lose myself completely.

I feel like I’ve really transcended on this tour and I’m able to totally lose myself in the performance. I don’t know why it feels so different right now. Maybe I’m just happier than I have been in a long time as there’s just so much fun stuff going on right now in my life and it feels really great".

CHARLIE:  "I listen to music, do my warm ups and play along with it. With Pantera I go into Philips room and see what he’s doing and Rex comes in my room and Zakk come in and we just kinda do that thing  and jam a little. With Anthrax I kinda do the same thing. I like to be alone and zone out and warm up and get ready.

I will tell you this though, With these Metallica shows I’ve been getting a little nervous before some of the shows and I’ve been doing a shot or two just to kinda ease the nerves and it has been helping. But the one show we did in Tampa it was like 97 degree and it was so hot.  So the Crown Royale was coming back up on me. I was burping it up and it was gross".

IF THE VIOLENT HOUR WAS A COMIC BOOK SERIES, WHAT WOULD THE TAG LINE BE AND WHO IS THE TRAGIC VILLAIN?

CARLA: "That’s actually a loaded question because it kinda IS going to be a comic book series. I love comics. I write comics and I’m a huge fan of comics and have been since I was a kid. Comics and music has been my life. So I do have a masterplan with The Violent Hour. BUT I don’t want to reveal any of it right now though, as it’s a really important story to me so I can’t reveal to much of it for now". 

CHARLIE: "The logo itself has a silhouette of a female and that’s probably going to play a key role in this comic book". 

I THOUGHT THE COVER WAS GIVING OFF VERY "CHARLIES ANGELS" VIBES...

CHARLIE: "Oh, good!"

CARLA: "That was Charlie's idea for the cover!"

CHARLIE: "Well yeah...a little James Bond, a little Charlie's Angels, a bit of Austin Powers..."

HOW DID YOU GET INTO DOING THE COMIC BOOKS?

CARLA: "I went to art school before I moved to LA. I’d always wanted to draw comics. I almost went to the The Joe Kubert School of Cartoon and Graphic Art for comic book drawing in New Jersey, but, ended up a college for creative studies and they put me in automotive design instead of what I wanted to do. So, I dropped out and moved to LA to be a rockstar. But I’ve always drawn. I’ve collaborated with Z2, I’ve put out my own comics, I wrote a series about my former band which was successful. It’s a life long dream to keep writing comics as well".

WHICH HAS BEEN THE MOST EXCITING PLACE YOU FEEL YOU'VE GOTTEN TO EXPERIENCE PLAYING LIVE?

CARLA: "Oh my. Why don’t you take the lead on this Charlie!".

CHARLIE: "I’m not kissing your ass just because you’re from the UK. But, the first time we played England, I still remember it like it was Yesterday. We played a venue called the Hammersmith Palais and Lemmy came to the show. I’ll never forget that. It’s just one of those moments that I finally felt ‘Wow, we’re maybe doing something good here’. The crowd in England for us throughout the years have been so loyal. I have to say England has been like home to us especially as we got to play Donington.

For me, growing up,  reading Sounds or Kerrang magazine it was always Donington was the thing to play. Then all of a sudden Anthrax are playing Donington. It was huge. That was a huge thing for us. It was 1987 and I can tell you the bill. Bon Jovi headlining, Dio, Metallica, Anthrax, Cinderella and W.A.S.P. back when it was one day. I loved it when it was one day!". 

OH I KNOW WHAT YOU MEAN, ONE AND DONE FOR WANT OF A BETTER EXPRESSION, LIFE WAS SIMPLER BACK THEN!

CHARLIE: "Over here we have a thing called Costco, where you can go and buy things in bulk. That’s basically what the festivals have become". 

YOU'RE BOTH AVID COLLECTORS OF COMICS, MUSIC MEMORABILIA, LEMMY'S POKER CHIP FOR EXAMPLE, THE LIST GOES ON. WHAT IS THE STRANGEST COLLECTIBLEYOU HAVE IN YOUR HOUSE RIGHT NOW?

 CARLA: "We have so much ‘stuff’"...

CHARLIE: "Tell him about the first time you came over here and what you saw!" (Laughs).

CARLA: "We were dating long distance for some time. The first time he flew me out to come see him, I walked into his house and there was a life size Stormtrooper in the foyer. I was like ‘THANK GOD!. Finally, a guy that’s  going to get me.’

Because I have so much stuff everywhere. So many collectables and little things I’ve had throughout the years. He has all the same stuff.  We’re like 2 collectable packrats. But when you meet someone who gets you, like for Christmas last year he got me 2 giant KISS dolls. Which era dolls did I get for Christmas? I don’t remember...",

CHARLIE: There was this company called Art Asylum in the 90’s that put out  these huge KISS dolls and they did a series of Love Gun and Destroyer and they play music too.. They’re awesome!" 

CARLA: "Wait, They play  music?! I didn’t know that!. I need to take them out of the package. That’s exciting. I can’t wait to get home and play with my toys! (laughs). We connected instantly because of things like that, and the rest is history..."

CHARLIE: "It’s KISStory, not history". (laughs)

THAT'S WHAT WE LOVE TO SEE! ANYWAY ON THAT NOTE, THANK YOU BOTH FOR TAKING THE TIME TO CHAT WITH US TODAY, IT'S VERY MUCH APPRECIATED, AND BEST OF LUCK TO THE BOTH OF YOU WITH THE VIOLENT HOUR...BEFORE I DO GO, QUICKLY, CHARLIE...DO YOU HAVE ANY UPDATES ON THE NEW ANTHRAX ALBUM YOU CAN SHARE WITH US?

CHARLIE: "Not really. It’s ALMOST done. This last song that we’ve recorded, the title is called "Watch It Go" and it’s probably the most intense song we’ve done since 'Gung Ho'"...

"The Violent Hour" EP Comes Out On July 25th Courtesy Of Megaforce Records.

Earlier this year, Finnish symphonic metal titans NIGHTWISH re-released a remastered edition of their standard bearing album "Once", which I had the privilege of reviewing for the team over at ALL ABOUT THE ROCK (Read the review here).

The bands most commercially successful album to date, it not only cemented their  status as genre leaders, but it proved without a shadow of a doubt, that TARJA TURUNEN was one of the most talented and important presences in modern metal. The classically trained operatic vocalist set the benchmark and raised the bar for symphonic metal vocals, and she won over legions of fans during her tenure at the bands height in popularity.

On November 4th, Tarja released "Singing In My Blood"; a specially crafted, illustrated collection of stories and memories of her career to date, recollecting her favourite memories and milestones in her musical career, where she pens her own thoughts and feelings on her musical upbringing, her growth as a vocalist, performer and fame, courtesy of some soul-searching and reflection. With not one but two hardback editions, including a signature edition, which features exclusive prints, it's one for both collectors and die hard Tarja / Nightwish fans, and will certainly complete many collections. Order yours now via the link button below at WWW.TARJABOOK.COM!

Tarja says: ‘Singing is in my blood. Ever since I was a little girl, I have enjoyed performing ... but not being able to be on stage in 2020 I spent a lot of time looking through photo albums, seeing all those happy scenes of childhood, growing up and making music, getting to know my fans and travel the world recording and performing, having fun; those memories fill this book’.

​

Some of you may be thinking, Gav…how many reviews can you shoehorn references to Covid-19 into? Well…my friend, as it happens, as many as I want. You see while a lot of you are crying over 2020 festival season being buggered into next year, I’ve got my own agenda. I’m not saying I don’t enjoy festival experiences, but I am instead honestly quite reclusive, so one of the things I personally look forward to every year is the EUROVISION SONG CONTEST.

Long-time readers will know I usually cover the show in some way shape or form, be it a run-down of finalists, covering past winner’s releases, or even just live-Tweeting the event…this year, I can’t enjoy this. This year I couldn’t look forward to sitting in front of my TV on the rare occasion I do, to watch Graham Norton sarcastically bury a plethora of countries. This year I couldn’t respectfully raise a glass of Bailey’s to Sir Terry Wogan during song 9, (Who am I kidding it’s a bottle of Jack). This year I couldn’t even get annoyed by the very political voting system I expect each and every fucking year as if it’s some shocking conspiracy. Covid-19 brought an end to all of that…and for that…I despise you, even though you’ve given me two months off work paid. 1st world problems, yes, but still. Alas…what I CAN do at least is channel my inner Jim Bowen, and have a look at who could have won, as Eurovision still at least released the 41-track CD of each countries entry. With that said…Good Evening Rotterdam! Open up, and let’s shine a light on the performers to see who gets 12 points….

​I’m going to preface this by stating that no I am NOT going to be analysing every one of the 41 entries as frankly I don’t even think lockdown is long enough for me to do that, but I will mull over my personal highlights, and as usual, the Eurovision double-album does things alphabetically, so we start with Albania. Their entry is “Fall From The Sky”, performed by ARILENA ARA and it’s one of two primary Eurovision tropes…heartfelt ballad, or fucking bonkers. This one falls into ballad category and as an opening track it’s a fairly safe one. The light piano allowing Arilena’s emotive, powerful vocals to really shine and there’s a dramatic intensity to this performance; a wonderful start. If you enjoyed that ballad however, hold on to that thought because you’re going to get sick of them over the next say, I don’t know… album? 

Armenia’s entry “Chains On You” by ATHENA MANOUKAIN tries to modernise things with some middle-eastern inspired trap and mumble rap…as far as the genre goes it’s fine, it’s the kind of thing you’d find Charlie Sloth spinning, but it’s not for me. Australia are still participating even though their initial anniversary guest spot was a few years ago now, and their entry “Don’t Break Me”, performed by MONTAIGNE is…another pop ballad. Granted the modern production and bold yet husky vocals find her somewhere between say, DUA LIPA and SIA in some ways, and it’s not bad. Onion Bhaji are up next…sorry, no, Azerbaijan are up next with “Cleopatra” performed by EFENDI and we get more middle-eastern / Egyptian musical influence, before leading into more Western pop stylistics…up until the part where they start summoning demons and shit…honestly that’s what it sounds like. Seriously, I thought my desk was going to start floating or my eyeballs were going to bleed!

Let’s see what else we have here…Belgium’s entry “Release Me” by HOOVERPHONIC in its own ways sounds like a BTEC version of BILLIE EILISH doing a Bond Theme…that’s the best and only way of describing that, you’re going to have to get way off of my back about that one. Skipping ahead now but keeping a colour scheme it’s Germany who have the next real highlight with the track “Violent Thing” by BEN DOLIC. Sadly the track is about as violent as two kittens having a pillow fight…I was expecting this year’s rock entry or something but we get another up-tempo pop offering. It’s got some brass elements and a bit of funk, and an impressive high note, resulting in quite a catchy little track, but it’s not what I was hoping for. Speaking of getting my hopes up, I ALWAYS look for Finland’s entry since LORDI won it in 2006, and this year, their entry “Looking Back” by AKSEL was…meh. It’s a pleasant indie-pop piece with ample melody, nothing like Lordi, or even SAARA AALTO from 2018; disappointing this one I’m afraid, you let me down Finland.

Next up, we have the United Kingdom…and as a Welshman, you might think I’m going to be biased here, that I’m going to sing praises to our entry as if they’re God’s gift to mainstream music…well I can assure you, that you are wrong. JAMES NEWMAN is our entry for this year with the track “My Last Breath” and I would sooner give up my last breath than have this song win the competition, despite it making things logistically easier for me to attend in 2021. Another copy and paste type of emotional male-led pop song akin to anyone from JAMES ARTHUR or SAM SMITH or any generic bollocks like that…it’s just so bloody boring! Georgia on the other hand, do somewhat peak my interest…”Take Me As I Am” by TORNIKE KIPIANI is, admittedly, lyrically fucking awful, let me make that clear, but the deep, electronic tinged moody indie tones easily mirror the styles and sounds of say, IMAGINE DRAGONS or AWOLATION etc, and this is arguably as dark as things get this year.

Skipping eagerly ahead now as we’re still only about half way here, we get Ireland and honestly…this would have been a contender for the competitions winner to break their own record, securing eight competition victories. “Story Of My Life” by LESLEY ROY gives off some serious KATY PERRY vibes…it’s a bouncy, light-hearted absolute banger of a pop anthem. Sure there’s repetition, a little instrumental monotony and some childish qualities but this is the kind of track you’d understand being all over commercial radio this Summer time…never mind the political voting, Covid-19 potentially robbed Ireland of this year’s win! Do they have any contenders however? Why in fact yes they do, and there is some STRONG competition from Iceland, and who some may say are favourites to win; DAðI FREYR with the song “Think About Things”. A synth-rich, full on disco-funk driven indie track…it is so simple in execution with the most basic of hooks, so much groove in so little effort, this is superb.

Jumping forward then we have THE ROOP with their entry “On Fire” for Lithuania…and it’s another basic pop track with pulsing electronic elements, dance-pop qualities with all of the synth laden hooks, it’s not as good as past winners such as MÅNS ZELMERLÖW for example but it’s along the same vein and personally I enjoy this, it’s arguably my favourite, despite some questionable vocals in places…and the video is as stated above; fucking bonkers. The rest of the album sadly doesn’t really throw up many particular highlights or memorable tracks, other than “Uno” by LITTLE BIG representing Russia. The “Skibidi” outfit had my attention going into the competition don’t get me wrong, but they’ve done better. Granted they’ve likely been heavily censored but still! SKIBIDI WA-PA-POW! The video does make me laugh mind…it’s all in the knees fam.

Romania come in with the track “Alcohol You” and I thought I was being offered a pint in broken English to be honest, so imagine my disappointment when ROXEN starts warbling her moody, sultry vocals…a slow, albeit grandiose track , though KORPIKLAANI drink better to be fair. Serbia rock up then with “Hasta La Vista” and the name alone has me hooked…have HURRICANE been sent from the future by Sky Net to secure Eurovision victory? In short…no…imagine someone installed LimeWire on the T-800 and the sheer amount of internet aids rendered it out of order. I’ll be very surprised if you’ll be back. Eventually then, and finally, we find ourselves at Ukraine, listening to “Solovey” by GO_A, and luckily, we conclude the album on an unorthodox yet enjoyable note. The traditional native tones of the vocal performance and woodwind elements coupled with a solid dance-pop aesthetic allow for a genuinely soothing and fun listen…I mean I haven’t got a fucking clue what they are saying but I like it!

After all of that, it really is heart-breaking to know that, given Eurovision’s six-decade legacy and tradition, none of the above entries will be able to represent their respective nations and try to put themselves in the history books. Granted some of these songs work better as a stage performance with character and gimmicks as opposed to straight up audio content, but that doesn’t detract what would have been an entertaining evening of live entertainment and multicultural acceptance of diversity. I know I rant and roast but I honestly enjoy the Eurovision Song Contest…I look forward to it every year, and hopefully it comes back all guns blazing in 2021. Where…who knows…no country has ever done two in a row from winning, so will Holland get to host again on a technicality? We can only wait and see…until then, Europe, you’re a beautiful bunch of bastards, for the record, I didn’t vote for Brexit I voted remain…and as far as Covid-19 goes…nil pois.

We’re going local again for this installment of the Wreckord Collection, as we turn our attention to COLIN JAMES MACFARLANE. Not just a cog in the local independent music scene, he is a Jack of all trades and generally more of an all-round entertainer, dabbling in solo work, fronting the band BREAKDOWN FACE, conducting interviews with other bands, making gig diaries, dabbling in hip-hop/rap songs (Consider him a dairy free Vanilla Ice) and making comedy skit videos on his YouTube channel. Here, in his own words, he talks us through some of the records that inspired him and had the biggest impact on him creatively…

As February 8th 2019 was officially Dydd Miwsig Cymru, or, Welsh Language Music Day for those of you requiring English...I thought that I'd go local for this next installment of My Wreckord Collection. Today we catch up with one Mr Zac Mather, drummer of Pontypridd-based alternative rockers CHROMA. The currently unsigned trio have been making a name for themselves in and around Wales' live music scene since their debut self-titled EP, and continue to come on leaps and bounds through their work with Horizons, even garnering accolades at the Cardiff Music Awards. Here, Zac gives us a quick run down of five albums that helped shaped him as a person and a musician today....

Courtesy of Dewar PR, we’re going to be having a slightly different take on the Wreckord Collection this week, as we talk to Tommy Stewart; bassist and vocalist of Atlanta-based doom/sludge trio NEGATIVE WALL. Having formed in 2018 as an amalgamation of members from other bands including BLACKLIGHT MIDNIGHT and BLUDY GYRES, they will be releasing their debut album “Gammagelu”, after only a handful of writing rehearsals mind you, on February 8th through Black Doomba Records. Check out the advance-track "Hybrid Genus Serpentis" via the Bandcamp link below! Here Tommy discusses why it is that he prefers to listen to vinyl and how it helps him as a producer… 

“I love talking about my record collection! I have a few years on me so most of the records I have were bought when they came out. So when I say I bought DEEP PURPLE 'Machine Head', I LITERALLY mean the year it came out, and it's the quadrophonic version! I had little interest in anything else so listening was and still IS a very intimately focused experience. I've had many albums on cassette, 8-track, vinyl, and CD, but I still think that vinyl is best because of its presentation. I like that the art and photos are larger for one thing. It's my habit to buy a vinyl, then sit and listen with focus and not while doing something else. I read the lyrics and follow the journey the album takes me on. Sometimes, as I revisit the album, I may follow just one instrument through its own journey. I was quite inspired by English rock and metal. I've tried to figure it out and it looks like about 60% of my life long listening came from a 178 square mile area of mainly England. If you have that in mind when you're listening to albums I'm known for, such as Bludy Gyres' 'Echoes of a Distant Scream', or Negative Wall's 'Gammagelu', you can certainly hear the Crimson and Sabbath influence. There's no doubt that HALLOWS EVE's 'Tales of Terror' was influenced by IRON MAIDEN and MOTORHEAD.

This laser focused listening habit inspired me to develop into the person I am today, who not only plays on albums, but also produces them! Just listening in such an attentive way since I was a wee lad of 6 years old pretty much trained me for recording myself and other artists. It's amusing to watch the bands come in the studio very pumped up, and I try to make it comfortable for them, but as I start mixing, they usually glaze over, begin to sleep here and there, and I even get asked how do I listen to the same passages for hours. I enjoy it!

The artists I have the most records of are BLACK SABBATH, JETHRO TULL, PINK FLOYD. And you thought I'd say METALLICA, I bet. I have those and a variety of metal styles on albums…I do a wide variety of listening. If I'm asked if I own anything embarrassing. Some closet classics I like when I'm all alone? I have a pretty fair collection of 7" singles that are mostly 60's pop and some 50's hits; from THE BEATLES, to NANCY SINATRA, to JERRY LEE LEWIS. In the middle of all that there is a Vertigo copy of "Evil Woman" by Sabbath, but it's all alone in that stack.”

​The music industry is an ever evolving beast…sure there are noticeable changes that we can all see, such as the progression from vinyl, to cassette, to laserdisc and CD and then back to vinyl like some sort of, musical ‘Rock / Paper / Scissors’…but there are changes behind the scenes too that the average consumer may not see or not be so aware of. Record labels are changing the way they operate and ultimately handle bands; streaming became a massive thing (Dividing opinions in the process) fan-direct services sprouted such as Go Fund Me and Pledge campaigns…and essentially it’s becoming easier for people to not only access music, but create and share music too. The question is though, with all this ease of access for bands to work more and more independently, where does that leave the industry middle-men? Philip Marsden asks; are booking agents being replaced by robots?
 
“From switching on your heating, to self-service checkouts, more and more day-to-day jobs are being replaced or at least aided by technology. With Sound Finder’s latest feature, a virtual booking agent tool, is this the latest role to be superseded by tech? GLOBAL SOUND GROUP founded the peer-to-peer website, SOUND FINDER, in late 2018, with an aim to put musicians directly in touch with professional music and sound services around the world. Musicians can contact providers (Including sound engineers, graphic designers, video editors, songwriters and more!) directly and purchase their services for their latest projects without leaving the site.
 
The latest feature to be added to the site is the ground breaking virtual booking agent. This new tool will put musicians in direct contact with over 20,000 venues and promoters from all corners of the globe, allowing them to submit their music directly for consideration. This saves artists from having to compile lists of local venues and send out hundreds of emails in hope of landing gigs. It also cuts out the middleman (and fees) for independent artists who are using a booking agent to secure their next gig.  Of course, the service could also be used by booking agents themselves as a one-stop shop for all of the connections they need!”

While for any up-and-coming band, artist, or whichever position you find yourself in, an easier option is often the most appealing option. If you can potentially save time, money and resources then of course you’re going to check something out, especially if the service directly affects you and your finances, but the other question has to be, are these services reputable? Essentially acting as the music industries answer to LINKEDIN, it could prove to be incredibly resourceful, but will it have any knock-on effects regarding small PR companies and booking agencies? Only time will tell…for more information, follow the link below and check out Sound Finder for yourself!

'My Wreckord Collection' is becoming an interesting little feature...we've gone from an underground death metal masterclass, to lashings of thrash and now...in our third installment, we're going for something totally different yet again. Today we're going to be putting the spotlight on Mike Cummings of West Chester Pennsylvania stoner rockers BACKWOODS PAYBACK, who last year released their newest album "Future Slum", to find out what it is about NEIL YOUNG he loves so much...

“I sat down to write a bit about my record collection but, it seemed a bit overwhelming at the time. So many records, so many artists, so many genres; so many formats! I decided to hone in on the one artist that may have influenced me the most and that, would be NEIL YOUNG. I was turned onto “Harvest” before I was 10 years old; it was one of my mom’s favourite records and in constant rotation at the house growing up. Something about the fragility of his voice made me stop whatever I was doing whenever it came across the speakers. Then getting older and understanding the words he was singing, I realized just how powerful that soft voice actually was. As I got older and started digging through crates for my own record collection I was blown away by the sheer VOLUME of records Neil Young had (And continues to) put out. A folk record, a psych record, a “punk” record, a noise record, a synth record…he never stops! And when you think you caught up to him, he is already onto the next sound. It’s inspiring, it’s refreshing, and at times it’s FRUSTRATING (Which is a good thing in my opinion!).”

“I have managed to find just about his entire catalogue on vinyl through the years. Some get listened to more than others…some have only been spun once. Some (The ditch trilogy of “Time Fades Away”, “On The Beach” and “Tonight’s The Night”) get played weekly at the house. These records shaped who I am. They make me feel strong, they make me feel small. They guide me through tough times and they sing with me in happier ones. I am not sure who or even what I would be, had I not heard THAT voice all those years ago, coming through my mom’s little turntable stereo in the living room…”

ps…

“When it comes to embarrassing records, I don’t think I have one. Sure there’s a TON of stuff I dig on that a LOT of people think is goofy (IE: SUGAR RAY  - “Lemonade and Brownies”!) but I am not ashamed of any of them. I think they make us who we are. EMBRACE THE AWKWARD!”

Back in 2015, HORIZONS got in touch with me to cover a live show in the Redhouse, Merthyr Tydfil, covering a variety of up-and-coming Welsh artists, including THE PEOPLE THE POET, HOUDINI DAX and GABRIELLE MURPHY (Check out my review here). That's what Horizons do, and do damn well if I'm honest; they champion blossoming undiscovered Welsh talents, and together with the BBC and special showcase promotions, they've continued to do over the past couple of years. If ever there's been a more fitting name for a project it would be Horizons, as just like the Sun rising on a new day, so too do fresh-faced artists get the opportunity to shine.

​2018 Saw Horizons take a new batch of bands and artists under their wing, and along with BBC Wales, together they worked on something special, and it involved the iconic ROCKFIELD STUDIOS. The studio, situated in Monmouthshire, was founded in the early 1960's and became the worlds first residential recording studio, but that's not all it's historic for. It didn't take long for Rockfield to start churning out the hits, and I don't mean that lightly. Rockfield has produced a number of incredible albums cementing many a bands legacy, from the MANIC STREET PREACHERS and OASIS in the 90's...going all the way back to QUEEN and "Bohemian Rhapsody" in the 70's...even HIM shaped their gothic-rock masterpiece "Razorblade Romance" in this brilliant little Welsh beauty!

Starting this week on BBC Two, you can see for yourself first hand who Horizons have been working with, courtesy of two mini-documentaries highlighting a select batch of artists, who are not only going to be getting the chance to perform original tracks right there in Monmouth, but will also cover some of the legendary artists who have previously recorded at the Welsh studio. Covering a variety of styles and genres, you'll hear the reggae-inspired tones of ALEIGHCIA SCOTT...the quirky indie-pop funk of Welsh speaking three-piece ADWAITH and the harder hitting swagger-ridden rock 'n' roll of HIMALAYAS. With the first show airing at 10:00pm on Tuesday, January 15th, followed by the second on January 22nd. Both shows (Running time 29 minutes) will be available on the BBC iPlayer for repeated viewing following their aired time on TV. Do check them both out, and check out some of the freshest Welsh music out there today.

Recently I premiered a new feature for the GTGC reviews page, something which I dubbed "My Wreckord Collection". It's a simple premise, artists and band members from all walks of life take a break from plugging and promoting their own material, and instead get to nerd out over their own personal tastes and private record collections. On our first entry we went in hard and heavy, literally, as Mike Churry, drummer from Philadelphia death metal outfit BASILYSK briefly talked us through five of his favourite obscure death metal albums. In this installment, we'll be hearing from Markus Wikander, vocalist / guitarist of Swedish hardcore thrashers LEACH, who released their newest album "Hymns For The Hollow" in 2018...lets percolate through his personal picks and see what inspires him.

ANTHRAX - "Spreading The Disease"

"So after that I got really into Anthrax. A few years later they reunited as the "classic" lineup (2005?). They were coming to Sweden Rock Festival and I was really stoked about it. They were having this signing booth so I was standing in line with a friend. He had this patched up jeans vest with his favorite bands and he was a power metal guy which I thought was kind of dorky. For some reason he left the line going somewhere, but he asked me to hold his vest 'cause it was hot, so I did. Finally finished the line and I was standing there with them asking if they could sign my copy of "Spreading The Disease", which they did. But they also pointed at the vest and a patch with Swedish power metal band HAMMERFALL and asked me "Do you like that band?". I was so fucking nervous and didn't know what to say so I said "Yeah, sure". They looked at each other and started giggling, probably thinking "Who is this lame fuck". I wanted to disappear, I was so embarrassed! Never meet your heroes..."

Favorite song: "A.I.R"

MEGADETH - "Killing Is My Business..."

​"'Peace Sells...' is without doubt my favorite 'deth album but I gotta' pick this one because it's so goddam ugly. Everything is bad about this cover. Found the original Combat release so I had to have it!"
 
Favorite song: "Killing Is My Business"

NUCLEAR ASSAULT - "Good Times, Bad Times"

"If the "Killing.." cover is bad in a bad way, this one is bad in a good way! Don't know what I like about it really but there's just some punk ingredient that I just like. With their faces badly pasted on there with the exploding Hindenburg. Works well with the title!" 

Favorite song: "Hang The Pope" (Live)

MASTODON - "Crack The Skye"

​"If somebody put a gun to my head and I had to pick ONE album that I had to listen to for the rest of my life, I'd pick this one. There's so much nuances that you discover for each listen and I think I can never grow tired of this one." 

Favorite song: "The Czar"

​Courtesy of the lovely folk over at DEWAR PR, we’re kicking off 2019 with a brand new blog feature. In something I’d like to call “My Wreckord Collection”, here we’ll be delving deep into the personal record collections of bands and artists from all walks of life; getting a glimpse into their own individual tastes…what inspires them to write, record and play music, and possibly discovering some hidden gems along the way. Today in this opening segment, we’ll be turning our attention to a ‘twisted’ death metal band by the name of BASILYSK…and more specifically their drummer Mike Churry. Hailing from Philadelphia, the 4-piece, who have described themselves as a serpentine assault on the senses; have their brand new album “EmergencE” scheduled for release on February 22nd…let’s see what’s potentially inspired Mike to make noise, as he runs us through some of his favourites in his own words…

​CONVULSE - "World Without God"

"One of Finland's first and finest death metal bands. If you are truly one who savors rare, underground death metal, then this is the album to feed your soulless ears. With four tracks off their 1990 demo included, and two bonus live tracks, I highly recommend World Without God for your morning drive to work!"

VIOGRESSION - "Expound and Exhort"

"From the underground Wisconsin death metal scene, behold Viogression!  This record boasts of John Tardy-style vocals, viciously evil sounding riffs and pummeling drums. Sure to send you right to the chiropractor for severe whiplash. The ever changing guitar revolutions never leave a dull moment for the listener!"

DEPRAVITY - "Silence of the Centuries"

"Well known in the Scandinavian metal regions, Finnish band Depravity stands strong in their rank.  Spooky, ghoulish, heavy, and memorizing most of all.  Let the beautifully composed solos coat the melancholic chord progressions, while you gaze at this masterpiece artwork done by one of my favorite artists, Turkka Rantanen.  Sure to give you chills.  This album will not let you down."

DEMILICH - "Nespithe"

"Technical, brutal, otherworldly, artistic overall.  No words seem to fully describe this dark Finnish diamond.  I could only explain how I felt upon listening for the first time in the Fall of 2007.  Brutal death metal from Mars?  Low tuned alien brilliance?  Whatever it was, it took me for one hell of a ride.  Artwork by none other than Turkka Rantanen, this album is dressed to impress in many ways.  Guitarist and stomach-churning vocalist Antti Boman (who also designed their logo) practically raised the bar for extreme death metal.  I got to see these gods crush Millcreek Tavern last May, and  I'm proud to say that I shared many conversations with their drummer Mikko and Antti himself.  27 years later, and the value of this album is the same, if not maybe even more. To me, it's priceless."

DEFORM - "Nefarious Impulses" (Unholy Domain Records Cassette Release)

"Formed under the name Desiccation in Fall 2007. Tim Ninerell (R.I.P.) and myself were practically the only death metal heads in our small town of Hainesport, New Jersey.  We were inspired to write good ol' fashioned death metal in the vein of bands like Suffocation, Morgue, Accidental Suicide, Convulse, and of course, DEATH!  We recorded a 2 song demo in 2007 titled Flesh Eating Disease.  A year later we wrote Morbidity, a five song demo.  During a four year hiatus, we finally got around to record Nefarious Impulses, and employed artist Derek Waugh draw up this sick design.  If I could turn back time to ask for a click track and punch in a faster tempo from the engineer, then this release probably would have taken us even further. But even at this slower tempo, the music is flawless in my eyes. Nefarious Impulses WILL punch a hole through whatever you play it on. 

The next planned Deform album "What Lives In Shadows" would have been 10 times better then the last, with art work by Turkka Rantenan. Sadly, this album never made it to recording, as Tim disbanded Deform in 2015 and passed away later that year.  I've been practicing guitar for a while now, so I am going "What Lives In Shadows" happen some day."

Well well well...what can I say? 2018 has been and gone; some of it was awesome, some of it was interesting, some of it was amusing and a lot of it was spectacularly shit...however, one thing that's consistent is the sheer volume of music and art created around the world. 2018 saw me cover my usual rock and metal albums...there wasn't a lot of goth...but I dabbled in some pop, in some rap, in some hip-hop...that's not including that which I checked out for the team over at All About The Rock...ultimately 2018 has kept me on my toes musically and I'm sure that my Top 20's, no matter the category, can show you that. 

From Eurovision bangers courtesy of Saara Aalto...to heavy metal swan songs a la Machine Head. From returning Welsh rap rock renegades The Kennedy Soundtrack...to returning Finnish goth godfathers Musta Paraati. From crossover WWE Superstar Elias...to young crossover Stranger Things superstars forming Calpurnia...you name it there's been something for everyone in 2018 and I like to think I've covered a fair unbiased amount of it. After over 200 albums and EP's, the above gallery showcases the best of the best of 2018 and I hope you agree with my overall picks. Below you'll find the link to the GTGC Facebook page, where you can find my lists in their entirety (Including the bonus WORST 20 OF 2018) and my official GTGC 2018 Spotify Playlist, and I hope you enjoy listening to it as much as I enjoyed compiling it. Here's to 2019 and all of the new music coming our way...some of it will get the GTGC treatment, and you know you're looking forward to that. Peace out bitches...WUBBA LUBBA DUB DUB!!!!!!!!!!!!

GUNS 'N' ROSES' globe-spanning “Not In This Lifetime” tour will have finally come to an end in 2018, after more than two years of activity, having performed to over 4 MILLION people worldwide. For all of that time it’s been one of the most exciting things happening in rock music in recent memory, despite the fact that it’s been about 30 years since the height of the bands popularity. Excitement aside though, was the tour a fully-fledged success? Was it executed as well as possible for a mega rock revival? Having put together a review of sorts; taking into account the comeback’s roll-out, other reviews of specific shows, and the trajectory the whole journey established, we’ll take it point by point and find out whether or not these guns were firing blanks, or if these roses were once again in full bloom...Maryland's John Jameson elaborates.

​The band’s revival officially kicked off at COACHELLA in 2016, as the group sought successfully to shock fans by showing off the reunited duo of AXL ROSE and SLASH. That alone was enough to create a frenzy, who would have ever thought it possible?But it did draw plenty of attention to the show. As for the actual quality of the show, reviews were mixed. Some suggested that nostalgia carried the day, and that while the performance lacked some sort of, trademark injury, it was all-in-all a good listening experience. Others (Such as The San Diego Union Tribune) were more critical, suggesting that the band had aged and grown tame to a degree that made them less than themselves. Oddly, the LACK of dysfunctional nonsense that once defined the band was cited as a negative. All in all we’d say that given the reasonable level of expectation, it all went well - even if it wasn’t as wonderful as it could have been. Essentially, while lacking to some degree, it was still very welcome. [Rating: Just Okay]

​Back-tracking from the actual debut show at Coachella, it’s worth recalling any build-up to the Guns N’ Roses reunion too - even though there was in this case practically none. The closest thing there was to a hint or clue, came in the form of an ambiguous, seemingly random highlight reel played as a cinema trailer of sorts in December of 2015. Those paying VERY close attention to all things G'N'R may also have noticed a band-based casino slot game becoming popular around this time as well, though it’s unclear if this was a direct publicity effort from the band. Online slot sites these days tap into all sorts of themes, such that the most fun and lucrative thing about them is the variety. In this vein, G'N'R 'headlined' a game, as did MOTORHEAD and JIMI HENDRIX, and intentionally or not, this may too have played into revving up excitement about the band. However, there was very little direct or overt build-up. As successful as the tour has been, it may have been even more exciting with some kind of anticipatory energy. [Rating: Poor]

​This is the broadest category, and the one that matters most, though also the simplest to comment on. As with any band in any tour, Guns N’ Roses by all accounts had varying levels of energy from one night to the next throughout this tour. You can easily dig up reviews of specific shows lamenting the group’s lack of enthusiasm, as well as some praising G'N'R for being as good as ever. The truth of the matter is that it’s largely a matter of perspective. There are even divergent reports about the economics of the show. You may read that the shows aren’t selling out, for instance, but some of this is explained away by the fact that limited seats were available in lots of the larger venues, and the argument is offset by the fact that the show was by most any numerical degree an enormous success. Ultimately, what happened is that an aging, past-its-prime rock group took to the road for two-plus years and rocked concert venues around the world. OF COURSE they weren’t AS good as they were once upon a time. But they were still good. [Rating: As Good As Can Be Expected]

​It’s reasonable to argue that the most successful aspect of the “Not In This Lifetime” tour will in the end have been the anticipation it built up for future endeavors. While build-up for the tour itself may have been lacking, Guns N’ Roses has now set the stage for any subsequent album releases or additional tours it may be planning. The band has been fairly tight-lipped about future plans to this point, but it doesn’t take a psychic to guess that a new album will almost certainly be released in due time. And because of these last two years, there will be untold millions of fans ready to send it to the top of the charts the moment it comes out. So as for establishing potential, there’s really nothing negative to say. [Rating: Perfect]