Festival Review - Smoke Over Warsaw III: Cosmic Cruise

I’ll begin with a little history - or at least try and provide a little bit of context… I've been listening to heavy hard rock and underground metal since I was 14 years old (well there was that phase when I was 9 or 10 when I listened to Ugly Kid Joe and Guns N Roses, but I try to bury that in the dark places and file it under general childhood trauma). What I mean more specifically is this whole Stoner/Sludge/Doom thing as it's often referred to - I’ve always hated the label(s) personally.

It wasn't until I ended up living and working in Warsaw, Poland that I got into the DIY underground music scene. It didn't exist when I was in my early 20’s - very little existed at all when it came to the music I have populated my days with for over 20 years; anyway... Warsaw - Poland; not a place that I had expected to have my musical passions revitalised.

So how did this come about? And why am I mentioning it - well please bare with me… Back in 2013, a friend of mine had also recently moved to Warsaw to begin working at the same company as me. Our birthdays are within a few weeks of each other, and we share similar tastes in music. We were looking for something to do - a way of celebrating. He'd uncovered a “Stoner” show that was due to take place in Warsaw - I think it was a Sunday; a three or four-band bill at a place unknown to us called “Klub Fono”.

The headliner for this show was a then little-known band called "Stoned Jesus", we'd chuckled at the idea of this - Poland is still a somewhat religious country - we thought the name was funny. And we had absolutely no clue what it was going to be like; but figured screw it - better than sitting about doing nothing in the Warsaw heat.

We awkwardly navigated our way to a dilapidated venue in the middle of nowhere. I don't mean this in the traditional countryside sense - of nowhere - imagine the same concept but surrounded by what seems to be miles of upon miles of nondescript tower blocks, warehouse buildings - a concrete jungle with windows as far as the eye could see.

We attended the show - watched the bill along with around 50 or so other people. I do remember Stoned Jesus being excellent that night, but it didn’t come with any prediction of what was going to happen to that band... During one of the changeovers, I wandered outside for a smoke - and struck up a conversation with a man who turned out to be the promoter for the show, he spoke in exceptional English (a rarity for myself having lived in Poland for 6 months or so at that point) and we started talking underground bands - he introduced me to his Facebook page - "I did it - One man booking agency". Having enjoyed the show immensely - I liked his page, and Robert added me on Facebook - social media? Is it all bad?

During my time in Warsaw, I got to know Robert - and he’d hit me up when he was putting events on. Roberts the man behind "I did it”. He introduced me to loads of great bands, and a small group of “ex-pats” from our office started attending the shows he was putting on around Warsaw. 

In retrospect, I felt very lucky, I got to catch a lot of bands that are now rather well known long before they exploded, the likes of Mars Red Sky, Sunnata, Weedpecker, and 1000Mods - the last time I’d seen Robert before returning to the United Kingdom - he'd just put on a double headliner "Stoned Jesus/1000Mods" a show that took place at “Klub Hydrozagadka”, that I obviously was compelled to attend - at that point it was the largest show he had put on, especially considering the growth that “Stoned Jesus” had garnered over the subsequent years - each show had consistently brought more and more people to the various venues; each show was always better than the last. A relief from the daily grind that I genuinely missed this when I returned to the UK.

So lets fast forwards to today - Approximately 3 years later and Robert was going to put on his largest show to date (in terms of number of bands, and I'd started making music again, I kinda stumbled into music promotion - I don't consider myself a promoter, but the UK music scene is literally littered with people like myself, putting on shows for the love of music. 

Just like Robert all those years back). I was in the process of putting together the line-up for my second all-dayer. I was looking for that special headliner and having continued to follow Robert’s band (Sunnata) rise in the underground consciousness. I’d enjoyed Climb the colossus and thought it was a cool record, but Zorya had blown me away (it was far closer to the band I'd witnessed live at the release party for the first record).

Whilst booking Sunnata to headline Gizzardfest #2, he invited me over to his "biggest show yet"... I took him up on his offer, flights to Poland are cheap, and I wagered it'd cost around the same as attending a show in London, or Manchester - perhaps a little more, but nowhere the same as DesertFest or Roadburn; and I knew I'd catch stuff I'd never heard or been exposed to in any ways shape or form. Much as when I initially Witnessed "Stoned Jesus" playing to a small crowd.

Having also seen 1000Mods previously, and that they would be playing gave me one band I’d have confidence in that I knew I was going to dig. They'd been amazed by the Polish response the first time I'd seen them in Warsaw; so surely this was going to be something else...

As I organise my flights Smoke Over Warsaw III’s line-up is teased and expanded, I didn't know any of the other bands - complete ignorance - my preferred way to go into any music event. I’m a firm believer that live is the only way to experience a bands music for the first time. It’s a tasty looking line-up; Dogzilla, Sons of Nibiru, Diuna, Wedge, Kamni, Octopussy, Mother Engine, and 1000Mods.

So on Friday 13th April, 2018 - I catch a flight to Warsaw from my local airport, land in Warsaw, catch a taxi, check into my hotel, and head over the river to Praga (the region of Warsaw where the show was to take place) and wander to the venue; a journey very much facilitated by Google maps.

I've been telling myself for weeks at this point to just approach it like any other small show I'd attended over the years - don't expect too much… I shamble up outside “Klub Hydrozagadka” & “Chmury” the two venues where the show will take place, conveniently they’re next to each other. I find Robert stood outside - he’s looking slightly stressed - 1000mods are already 2 hours late, and Mother Engine hasn't turned up yet - the show is supposed to kick off soon...

Was I early? I'd been awake a long time by this point. Things were pretty quiet so I grabbed a beer and chatted with Robert and his crew for a while. About 30 minutes or so later, the 1000Mods crew arrived, they load in quick and professional and get to business sound checking. Followed shortly afterwards by Mother Engine arriving and going through the same load in motions. Everything's coming together; I've seen far larger bands turn up much later with far more equipment, and things still run smooth as hell.

While I’m stood about waiting, people are beginning to turn up - I catch Robert and Dani from 1000Mods having a little chat. Robert introduces me, and Dani instantly remembers my face from three years previous - blowing my mind in the process. I do the usual pleading for those guys to come to the U.K and grace us with a full tour, expressing that there’s a lot of love for their music. He’s humbled and expresses a desire to do so, but as with anything it’s got to work for them.

Dogzilla kicks off the event in an appreciated heavyweight doom style, as a literal horde of people begins to descend on the two venues'. A good well attended U.K. Underground show will draw a couple hundred people - Smoke over Warsaw III has completely sold out, 520 people - nearly double the audience of the last show I'd attended in Warsaw. I manage to squeeze into “Chmury” and check out Dogzilla's growling guitar tones, the sound is crystal clear; absolutely pure in its clarity. I instantly recognise that there’s not an earplug in sight, it's loud but not painfully so.

I'm here with the knowledge that I'll not likely be able to catch many of the bands on this smaller stage, it’s completely rammed already - but I was impressed with the small venue, it's on par with any of the 100 - 150 cap venues I've seen in the UK, but the quality of the sound is something else - I cannot stress that enough. 

Octopussy - Photo Taken By Zielińska Agata

I move over to the larger venue Klub Hydrozagadka in preparation to check out Octopussy, I've no clue what to expect - but I was definitely not disappointed! A hazy hard-rocking blues sound oozes out of the speakers - with rough and smooth harmonize vocals adorning the PA. It's good music and again the sound is great an absolutely solid performance. Whilst not my favourite genre - it's clear that they’re a talented bunch, and it's accessible to pretty much anyone who loves bluesy rock riffs, glorious in its smooth overdriven amp tones, and melodic vocals.

I’m now faced with a minor dilemma - get a good spot for Mother Engine, or duck out and check the smaller stage? I opt to try and secure a good spot.

I'd spent a good 30 minutes chatting with Chris and Christian from Mother Engine - the usual band geek stuff, talking gear, scenes and bands we dig; they'd sold me on their band, and their attitude - bare in mind I knew nothing about these German fellas from Plauen, and our conversation had ended up being struck up on the grounds of their lighting engineer needing a light for his cigarette and a sweet scent that couldn't be mistaken as anything but high quality weed being smoked by the bass player, Christian.

They informed me they played in Mother Engine, they were super nice guys, we spent some time talking instruments, at this point they explained that their hometown - Plauen is famous for its history as a luthier town - making instruments for generations. They have an insistence upon using their own backline - even the custom drum kit that's been built. Chris the guitarist plays a custom built guitar - it all sounds very cool to me as I mention my own tiny band and my love for D*A*M fuzz pedals.

Mother Engine - Photo Taken by Bartosz Kaszewski

I was enthralled by the fact that they really seemed to grasp tone and frequency - and they didn't have this whole "elite" everything must be valve amps mentality. These guys do have some nice equipment and run me over their history of playing together since kids, hashing out punk songs. So knowing that I'd potentially miss an ace smaller band I forwent it and threw myself to the front to check out their show.

I'll have to ask ‘Sons of Nibiru’ to forgive me, but there seemed to be some stage clashing, the kind of thing that happens from time to time at shows like this; I’ve no doubt the room was packed out for them.

It's at this point that it hits me - the crowd is a solid 50/50 split, neither gender appeared over represented and more than anything this didn't appear to be by design simply that as many women dig this music in Poland as dudes - I'm not mentioning this to wade into any gender politics codswallop; just a rare observation, especially considering the crowd reactions in Poland. Which I'll get to...

I place myself square and centre in front of the stage, observing them set up. The first thing that strikes me is - they have a small rig of lights and a lighting engineer. The stage is slowly being filled with a haze as they line check, each instrument - the drum kit with maple shells, covered in a beautiful walnut top if memory serves correctly, honestly sounds truly bombastic, custom equipment has its perks - he removes the felt from his cymbals - we're going to be floppy and extra resonant in the tings and dangs department it seems - interesting - the bass tone seems spot on - we'd spent some time discussing the importance of mids to bass tones when playing live. Sounds good overdriven, and clean. The guitar rings out with a massive amount clarity - it's tonally immaculate - much a result of the band and a decent sound engineer it's clean, hum-free - loud but not painfully so, whilst the sub still kicks you in the chest which is much appreciated.

They quickly set about what is going to be a three-song set - heh, a 45 minute - 3 song set, this is either going to be highly pretentious or unquestionably mind-blowing. They start neatly with a wonderful build-up finally breaking into some massive grooves and crazy timing changes that organically morph from one into the other - I'm immediately struck by how tight this four-piece is (bass/drums/guitar/lights) that's right - the music may very well be a three-piece affair, but there's an extra sparkle to the show thanks to their lighting engineer, they're all wonderfully tight. I'm not sure if they're playing to a click or not - I don't get the feeling they are, there's an organic feeling to everything they're doing - and if it's to a click it's the first time I've seen such a thing in the underground sounding so natural. I don't think they are though, which makes it all the better for me.

I'm entirely captivated by Mother Engine's set - they partially remind me of how I'd expect the Ozric Tentacles to sound if they'd never used synths and gone with pure guitar tones - it's a good trippy musical journey, the occasional solo enters the affair but never stays too long or falls into an egocentric twiddle fest. This is a 20 minute or so track and it feels like 5, I've seen bands do more egotistical fret molestation in their supposed 6/7 minute "epics" than these guys are doing in their epically arranged progressions, where everything really is there to make sense of the tonal progression.

Mother Engine have talked a particular talk, walked a walk, and all of it's been done without ego. These dudes just really dig playing and it shows. It shows on the faces of the band, and the crowd.

As they bring their set to a close they promise a faster shorter older song (Brett Hart) - the crowd laughs not believing they've only played 2 tracks. The track is indeed more upbeat and the lovely Polish energy of receptiveness begins to build - Polish crowds being the smiling energetic affairs they are, I'm shoved face first into some poor lass’s face where we butt heads - she just smiles accepting my apology, meanwhile the frantic dance is entirely just. Mother Engine rips raucously to a close, and are met with a thunderous applause and triumphant well earned cheers. I stand humbled and impressed by the best live show I've seen by a band in a long long time. Seems I should have paid a little more attention to what's been going off in Germany. 

Diuna - Photo Taken By Marcin Piwnik

I dip into the smaller venue to check out what’s happening before 1000mods hit the stage. I find myself greeted by Diuna playing a stoner cover of "Bite it you scum" by GG Allin, much appreciated by my ears, sadly they're closing out their set. The room’s packed and vibrant with energy.

By this time I've sampled a fair amount of the Polish IPA's on offer - each one pleasant, but I'm ready for the headliner - 1000Mods.

Here is a band that probably needs little introduction, but if you've not heard them before they're a wee stoner rock setup from Greece, there's a strong Kyuss influence to their music, but it's positively attained in an authentic manner, opposed to sounding like some kinda cover band gone square.

I stand more towards the back of the crowd, next to the sound desk - I know what's going to happen down at the front, I remember from the last time I saw them. I'm in no state to be holding people in the air, and expending such energy, running on fumes as I was - I'd likely be a danger to people, so I opt for this spot next to the sound booth and enjoy the experience.

They explode into rampant gaudy tones setting the place on fire with a wave after wave of energy, even back here the grooves are driving the women to dance raunchily - whilst boyfriends nod heads stoically. Hundreds of people come alive to the rhythm and beat that is unmistakably 1000mods.

1000mods - Photo Taken By Zielińska Agata

Much as the weather outside - a Warsaw tradition is that it always rains when 1000Mods play, and low and behold the weather broke into a thunderous storm to coincide with their performance. Inside the crowd is responding with an entirely euphoric release of energy and receptiveness so much so Dani feels the need to ask people to calm down so nobody gets hurt - I've not seen this kind of response to a band in a long time, and it's reassuring.

I was certainly enjoying the set, but shamelessly I was also waiting for Low to be played, even commenting to the guy next to me, his name escapes me but I remember he was a member of the band Red Scalp, that I was anticipating them playing Low - when they finally announce it - they're self aware that it's a fan favourite but from my visually obscured position, I'm only hearing them build up into the opening... a sort of strange teaser jam they seem to have cooked up, when Dani starts telling everyone they're having a few technical problems, this just adds to the tension they've already built with the impromptu jam, by the time they finally hit the first breaking riff the tension is beyond breaking point and 400+ people receipt in unison and glee to this final break - mirrored by the weather - a true climax of smiles, wildness and energy. Bodies surf the crowd, wave after wave and as the set comes to a close I'm satisfied.

I stumble outside into a thunderstorm...

Over at the smaller stage, the party is still raging, with Wedge playing a stellar set, and pumping the crowd in the small space to a fever pitch, they're massive grooves are a welcome change that is exceedingly well-paced after the desert vibes of 1000mods. With loud organs and crazy guitar tones I continue to watch the set until the bass player just walks off stage - I'm not sure if he's broken a string, got bored, or what but the rest of the band seem to carry on through what I thought was a build down to a close, I'm far too inebriated to coherently assess the situation, so having come to see what I came to see I head back to the hotel, bidding farewell to Robert and staff as they load out 1000mods.

Wedge - Photo Taken By Marcin Piwnik

Taxi booked, and sleep...

I'm reminded of why the Warsaw scene had such an impact on me in the first place through both venues and all the bands, the tonal quality was excellent - and required no earplugs; which made me contemplate a few things about the United Kingdom underground music scene - I've seen good and I've seen terrible, and I've played good and bad shows with excellent and terrible sound engineers - and perhaps those are stories for another time, but if there's one thing I've learnt from revisiting the Polish music scene; Maybe we don't need to be so loud.

If you’re looking for a weekend adventure, but don’t have the cash to attend the larger festivals in Europe or the UK, I can highly recommend anything that “I did it: One man booking agency”, is putting on in Warsaw. The sound quality really is world class, the acts have always been top tier, the crowds are super friendly and the bands have often usually never graced the UK. Flights, hotel, food and drink came in at around 300 quid for the entire weekend; and I was being frivolous in my spending, I could have shaved a hundred off it had I wish to cheapen the event for myself. All I know is that Robert hinted at something larger next year… And I’ve every intention of revisiting.

Words by Chris Hardwick

Thanks to Chris for this epic review. Chris is the Guitarist/Vocalist from Spaztik Munkey.

Munkeying Around - Interview with Chris Hardwick from SPAZTIK MUNKEY

Doom/Sludge Metal band – Spaztik Munkey – have released two excellent EP's so far. Their debut EP – Mucktub and their latest EP - Amphetamine Blues. The band are very hard to categorize. Sure they play Doom and Sludge Metal but it's still a fucked up kind of sound.

Spaztik Munkey play by their own rules but they do release damn good music. They supported Canadian Heavyweights – Dopethrone – earlier this year in Newcastle Upon Tyne, UK and they went down a storm with the Geordie Faithful in attendance.

I wanted to interview Chris Hardwick (Vocals/Guitar) from the band for quite a while now. I'm pleased to say he's kindly agreed to do this interview. I want to thank Chris for his brutally honest answers to my questions. It may make uncomfortable reading but Chris is one of the nicest guys I've dealt with recently from the UK Doom/Sludge Metal scene

Anyway. Time to get the interview started.

Hi, Chris. Thanks for doing this interview. How are things with you today?

Chris Hardwick: In the blue.

Before we get to discussing your new album. Can you give a brief history of how the band came together and where it is today?

CH: Bourbon. Blues. Amphetamine. Vodka. Broken Arms. Old friends. Life. Goat Leaf. It’s a long story... Some other time perhaps?

Why did you call the band Spaztik Munkey. Any particular reasons why.

CH: What do people expect me to say? That we’re a bunch of cunts, and hate disabled people?; Sorry to disappoint ya’ll. There are lots of reasons. Here’s some…

I had an estranged brother through adoption, who suffered from Spastic Cerebral Palsy. When he died, I attended his funeral and ended up looking into the condition more. I wanted to do something to allow me to candidly speak about the condition, and bring some awareness of the suffering people who have spasticity are experiencing.

We’re not fans of political correctness and subversive euphemisms in language - it’s simply fascist, amounting to censorship, and quieting conversations. We’re opposed to anything that attempts to shackle an individual's mind through silencing them.

The American colloquial interpretation meaning; an idiot. Think of it as “Idiot Human”. Spasticity doesn’t affect mental ability, it’s a physical condition - language is funny like that.

Were you mindful that some people may find the name offensive? How do you respond to comments to people who take offence to your name?

CH: If they’re offended that’s their choice. The idea that being offended provides some sort of entitlement to not be? Or moral superiority due to correctness? That’s a pretty fascist attitude, be offended - suck it up and stop thinking you’re a special snowflake that has a right to go through life without ever seeing or hearing something you dislike. Needless to say - we’re all particularly hostile towards such people. Everyone has the right to express an opinion, no matter how nasty or threatening it is - silencing people is not a legitimate argument. It’s tantamount to ignorance and part of the reason the world looks the way it does now.

The amount of people who’ve said “You can’t call yourselves that!”, we can and we have! Freedom is everything! Most, if not all of these people don’t care about spasticity! They just want to be “correct” and the moral vindication is empowering to weak people - you see it all the time on social media. So here’s our collective middle finger. You’re the butt of the joke.

There is a legitimate complaint where people suffering from or who have family members who are suffering from spastic conditions. I can see why they could misunderstand what we’re about and be offended. We’re most definitely not laughing at these people! - unless you’re Jesper Odelberg (Boys on Wheels is awesome).

Congratulations on the new EP. Amphetamine Blues. Great to see it carries on the pissed off frantic tone from Mucktub. What can people expect from the EP?

CH: Thanks, Steve, it’s kind of you to say. It’s a unique package - you get the CD, a T-Shirt, A3 poster, a cloth patch, and a hand numbered authentication slip with something scrawled on it. We aren’t going to reissue this on CD when these are gone they’re gone. As a record, it’s a much wider spread in terms of musical style than Mucktub.

We’re trying to show another side - spread out the wings, and challenge a few preconceptions. There’s less humour on this record that’s for sure, and we’ve taken a step outside of our comfort zone. It’s healthy to experiment, and we’re keen to experiment further on future recordings and to continue to evolve. Amphetamine Blues isn’t a sign of anything to come but more a snapshot of that period in time.

Was it an easier or harder record to write and record for compared to your debut EP.

CH: Much harder to write, Cluster B took months to perfect it’s feel - and was revised several times. Although Amphetamine Blues was pretty quick to record, 18 hours opposed to 24 hours for Mucktub. Most of the reason we recorded Amphetamine Blues was because Daniel had to have an operation on his arm. He went to the hospital for that the day after we recorded it and we knew it was going put us out of action for some time, potentially permanently - so there was a little pressure to get this done. After EyeHateGod cancelled their European tour we decided to do more of a collector's package, it was just going to be a CD originally.

This release has a more a doomier outlook compared to Mucktub. Perhaps even sinister as well. Was that your intention to release something different to Mucktub.

CH: Both records reflect an emotional state at the time. Each song is either a personal or observational story and the subject matter on Mucktub was less inclusive of that personal space. It was a very conscious decision to do something different, Mucktub was a safer record. Amphetamine Blues is a seesaw of a record, more about balancing the extremes.

Did you do anything different when recording Amphetamine Blues compared to Mucktub?

CH: Yes. Some of which I can’t talk about. Mark Chantler - the recording engineer from the Noiseworks in Rotherham where we recorded both records used a completely different mic technique, and we did some things with the vocals - I don’t consider himself much of a vocalist, but layering harsh and soft with saturation of reverb seemed to work. Guitar wise, a Mustang as the second guitar, alongside a Stratocaster, I changed the brand of strings, used some different fuzz pedals. David kept the bass guitar is identical to Mucktub - even the strings are the same! Daniel used a jungle snare to get a tighter snare sound alongside his main snare drum.

Are you curious what fans may think of your new sound on the new EP?

CH: Sure. I’ve all the time in the world to listen to people's thoughts, good and bad. It’s interesting to see how people think it sounds, the band's people think influenced us. It was certainly the case with Mucktub; I have never listened to a single church of misery record by the way. Amphetamine Blues is different to Mucktub, so we’re expecting it’ll appeal to different people. It has a more experimental sound for us and sits outside of our own comfort zone. It won’t be for everyone, it’s not a sign of some radical shift within the band towards a new sound - it exists as is.

The overall content of the album is very bleak especially the lyrics and riffs. What inspires you and influences you when writing music and lyrics.

CH: Have you ever visited Rotherham? I’m going to assume not. It’s a place where hope goes to die, it may as well just be a mental asylum. It’s a combination of location and absurd personal experiences.

Lyrically I make use of extreme contradictory terms, “Eat, shit, and die” or “Eat shit and die” - one is an insult, one relates to actions we all share. The environment and isolated nature play a huge part of it, and then naturally - bands and artists we like, Son House, Tom Waits, Tad, Melvins, Charles Bukowski, Iron Monkey etc… The whole Jimmy Savile is a wizard thing is based off of a youtube documentary.

What is the song-writing dynamic in the band? Is it a group collective or down to one individual.

CH: I write all the riffs and lyrics. The band operates in a creatively open environment, based on honesty, respect and trust - which basically amounts to me shutting up and listening to what abuse David and Daniel have to hurl my way. I listen, mostly. Daniel brings some seriously deep understanding of arrangement, as does David. I trust them 100% when it comes to their instrumental contributions, and assessment of the quality of a song. Nothing is performed or recorded until we’re ready and satisfied it's complete.

You're from Rotherham. What's the local scene like in Rotherham? Do you get the chance to play gigs on a regular basis? Or do you have to travel further afield?

CH: I wouldn’t say there is a local Rotherham scene. A community of musicians that have lived here for years and all know each other is perhaps as close as it gets. There are places to play here, and we’re starting to see underground bands come through the town which is great. As for playing shows - we play where we can when we can. We’ve turned down more shows than we’ve played and we prefer to play further afield when we do.

You recently supported Dopethrone on their recent UK Tour. How did the guys treat you and what was the audience reaction to your music.

CH: Dopethrone seemed a nice bunch, they introduced themselves, and watched some of our set. The north-east folks were some of the friendliest we’ve met; I got bought a nice bourbon afterwards, that was nice. It was a pleasure to play the bill. The reaction was far in excess of anything we expected, and there seemed to be a definite curiosity about who the hell we were, what the hell we were doing. I hope people enjoyed the set, it was certainly the best experience we’ve had all year. We all want to come back to Newcastle in the future and play again. Sadly it was an opportunity that came at the expense of Iced Out breaking up, and Jonas from Inverted Mill Recordings gave us a shot.

Will you be performing more dates in the UK anytime soon?

CH: We’ve got a couple of shows in December - in Rotherham. Props Skateshop on the 10th December & The Bridge Inn on the 17th. After which we’re not likely to play for some time - we’re eager to write new stuff - work and family life make it impossible for us to write and play shows effectively. If the right show and line-up occur, then sure we’ll jump at it, but for me, it’s about making music, and if other people are around and digging it great - we appreciate the support - but it's a cathartic experience even if we’re just three guys in a room. There is no desire for validation; I’m simply trying to keep myself sane.

What's your current verdict on the UK Doom/Sludge/Stoner Metal scene? Do you think it's reached its creative peak? Or can it still vastly improve.

CH: We’re not part of the scene. If we are a part of it - it’s news to me. We’ve no real connection to it either, as far as I can tell it mostly seems to be the same old bands giving each other Dutch rudders at some promoters circle jerk. It’s a clique, a clique that very likely takes one look at the name of our band and says nope. I find it all a bit incestuous, and that’s sure to stifle creativity.

Perhaps it’s got more to do with it being some folks meal ticket to the rock and roll dream? So to answer your point - yeah it can vastly improve! Since when did rock and roll become so safe? When did people start wearing earplugs to shows? When did being loud equate to heavy? When did it all become so nice and respectable? When did labelling yourself as something become more important that the music?

Do you have an advanced setup or basic setup when performing live and recording?

CH: Our live shows use the same musical equipment as when we record. Live I use different guitars based on my mood. I’m an ex-lampy, so I’ve been building up a lighting rig to enhance the live shows at venues where one isn’t available, or when it’s not a traditional venue (something we’re keen on, hence the Skateshop show on the Dec 10th).

The artwork for Amphetamine Blues is fantastic. Who designed that cover and how much input did you have into the overall design of the EP.

CH: Daniel Lee Tunstill (Danny T), a long time friend. He’s the sonic genius behind the psychedelic alt. rock band 6Needles - who I implore people to check out. The only real input I believe we had or wanted to have is our recording - he listened to it, and the art was the result of his interpretation of the record. I think the Iron Monkey “Our Problem” LP cover may have been an influence.

What are your plans for 2017? Full-length album. More tours. Anything you like to share with us.

CH: Our main priority at the moment is a full-length record. We *may* do a tour in the later half of next year - depends if we can make it work. If you’re a promoter - feel free to get in touch with us. We’ll also be considering releasing a video of a live show, and I’m pretty sure we’ve some plans to do a video to support Amphetamine Blues. Then there’s also Montage of Shit, Volume Two - a collection of live recordings set to video stuff that we’ll make before hitting the studio. It’s our equivalent to a teaser volume one is out there, by all means, check it out.

Well, Chris thanks for doing this interview. All the best with the EP release. It's a great EP.

CH: Cheers. Thanks for the support.

Words by Steve Howe and Chris Hardwick

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