Interview: Novacrow

Novacrow
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Novacrow are a UK based hard rock band with a generous dose of zombies and sleaze added to the mix – think along the lines of Alice Cooper and Rob Zombie. They’ve just released debut EP Black Syrup, so I sent them some questions to learn more about the band.

What is the story behind your band?

Kitty: Seeing as the truth is pretty straightforward, in that Jonyx and I started making music together and we acquired Freddy and Torben for Novacrow purposes, here is an extravagant backstory.

Jonyx: Originally conceived on the planet of Sexlexis in the Andromeda system, we were sent to dominate Earth through the power of pelvic-thrustingly good music. Unfortunately Sexlexis became struck with the extremely erotic disease ‘Sexlexia’ and we were given the task of finding a cure, the fastest way to spread the word…Novacrow! (continuity errors in storyline may occur…)

Torben: …and then I joined

Where are you from, and what prompted you to start?

K: I have always loved playing in a band and I think the four of us were drawn together, because we all enjoy making lots of noise and embarrassing ourselves. Jonyx and I are from Wolverhampton, Torben is from Norfolk and Freddy is originally from Italy.

How would you describe your sound?

Freddy: A sextastic sonic force.

K: Fat juicy riffs, sleazy vocals and groin-grabbingly good choruses.

T: Top stuff.

What song or album do you recommend for first time listeners?

F: Our EP ‘Black Syrup’ is a must listen for anybody who enjoys being a person. I’d say ‘Fat Frog’ off it would give the best idea of what we’re about.

J: Black Syrup, it’s the tits!

T: I’d personally go for Fight the Horde, I consider it a stomping song.

Why kazoo? It’s definitely not a conventional instrument.

K: Kazoos are just hilarious. We first used one when we did a terrible cover of ‘My Heart Will Go On’ at a Valentine’s gig. People loved it, so we thought it would be funny to add a bit of kazoo into all of our shows. We ended up recording it on the opening track of our EP, Fat Frog.

Torben, you appear to be the punk in a band of metalheads. Does this cause any conflict?

T: When I first joined I wanted to play everything much faster, but whilst punk is my favourite genre, I grew up on metal, owning every Opeth record and listening to them on repeat. Gojira were also big for me, and still are. But having said that, I wouldn’t say it has caused tension, at core we’re all just looking to have fun playing music we love.

Sadly, rock music is still male dominated. Do you find that you’re treated differently to other bands because you have a female singer?

K: It’s hard for me to be objective as (obviously), I’ve only ever been in bands with a female member, but I’d say that we are treated differently to an extent. ‘Female fronted’ is regularly treated like a genre, which is a bit strange, as we often find ourselves billed alongside a load of symphonic metal bands. To us, the fact that we have a female member isn’t an important part of Novacrow. I’ve had my fair share of derogatory comments, but it’s going to take a hell of a lot more than a couple of snide remarks to stop me from rocking my ass off.

It looks like you have a lot of fun playing on the zombie/horror theme. What are some more creative examples of where you have taken this theme?

K: We did a big cheesy B-movie music video for our single Fight The Horde!!! Which was super fun to film. We’ve used this in our live shows too, in one we used a giant screen to show clips creating a ‘storyline’ and had zombies coming on stage and out into the audience. At our EP launch we did zombie face painting too, so we had a whole crowd of the undead.

Between you all, the band covers recording, production, writing and art. Tell me about your DIY motives.

F: For us it pretty much came naturally, we all seem to fit together like a sort of jigsaw puzzle. John has the most experience in photo editing and designing, so he just took on the role of artwork designer. I’m a producer of my own accord outside the band, so I took command of recording, production, and video editing when needed. This leaves most of the artistic direction up to Kitty, so she’ll write most of the songs and we all chip in accordingly.

And then there’s Torben.

Paint me a picture of what I should expect to see at a typical Novacrow gig.

Kitty: Picture yourself at a dingy venue with a cheap pint of beer in one hand. Novacrow comes onstage and suddenly you are weak at the knees. Each member is dazzlingly attractive and unimaginably talented. Their music is so fantastic, you feel faint. Their stage banter is so hilarious, your sides actually split from laughter. The crowd around you are going wild, foaming at the mouth, tits everywhere. You fish out your wallet and you’re literally throwing handfuls of money at the band, they are just that good….

Kitty, I saw that in the list of books you read last year you covered a lot of classic literature and graphic novels, especially some dystopian texts. Talk me through some of your favourites. I know you have a degree in English Lit, so I’m expecting some good recommendations.

K: YES. Excellent question. There are so many incredible novels that everybody needs to read! Obvious choices include Fahrenheit 451, One Flew Over the Cuckoo’s Nest, 1984, Brave New World, Slaughterhouse 5 and any of Poe’s short stories.

My longtime favourite author is Stephen King. His first person narratives are unbeatable and I love his great sprawling fantasy epics. It, The Stand, The Dark Half and The Green Mile, are a few of my top choices.

In terms of a quirky recommendation, Annihilation by Jeff VanderMeer, or Grotesque by Natsuo Kirino. I’ve also just finished the trilogy of 1Q84 novels, by Haruki Murakami, which were fantastically written.

What format do you use the most when listening to music? [vinyl, cd, streaming etc..]

F: I mostly download my music, and when I buy CD’s I’ll import them to my laptop. I ain’t got the time to pick out a CD and put it in a CD player and shit, I just want it THERE!

Torben: MP3s or digital music, whenever I travel or walk I have music in. I have a vast collection of CDs which I listen to whenever I can, because I love having a hard-copy of the music I love most.

Tell us your best tour story.

F: We once played a biker club in the middle of Derbyshire and camped out on their fields. There was a HUGE slug that turned out to be just two regular slugs. There was also a lot of booze, some cooked chicken, a broken pump, and a giant fake plastic horse. And Showaddywaddy.

What is your band’s greatest achievement to date?

K: The fact that we’ve somehow tricked people into believing that we’re a real band, rather than a group of attention seeking idiots. I’m super proud of the EP and the excellent feedback we’ve had from it.

Who would you most love to tour or collaborate with?

F: The almighty GWAR.

K: Wednesday 13, Rob Zombie, Skindred or Alestorm.

T: Murder Dolls or Green Jellÿ who were great fun to play with… anyone who’s up for fun and some heavy music basically.

What plans do you have for the near future?

K: Loads of gigs, working on new material and general badassery

Novacrow:    Website      Facebook     Twitter     Instagram      Youtube

Interview: Jim Lockey of Solemn Sun

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Solemn Sun Jim Lockey (4)Solemn Sun are a fairly new band, reincarnated from their previous project Jim Lockey and the Solemn Suns. I was thoroughly impressed by their 2014 debut EP, § [here’s my review] and have eagerly waited for new material ever since.

Now the wait is over. Solemn Sun have just dropped their new single, “Bloom”, an outing that shows a different side to the band. I tried to set up an interview, and despite being busy on tour with Crooks, frontman Jim Lockey found time to answer some of my questions.

Will Not Fade: Tell me about the decision to change your band name and sound?

Jim Lockey: We’d reached the end of where we could take the old band and we wanted to explore new avenues and new artistic freedoms that aren’t achievable when you’ve built a reputation that precedes you. I think we could have carried on making records like the old band but it would have been forced and false, we’ve never been about that. We need to believe 100% in what we’re doing, we love to create and constantly evolve as a band which is why we moved forward as §.

I live on the other side of the world, so have been unable to attend any shows that you’ve played in the past few years. I’ve read that you no longer play material from your previous era. So how do you manage to fill in a set when your recent release has just over 20 minutes worth of music? I can see that being enough for an opening set or festival slot, but what about your headlining tours?

We have more material than that of the EP. Things that we’ve been working on for some time now. Despite keeping a section of our previous name this is an entirely new project, it shifts between so many styles from song to song we have the opportunity to play anything we want as part of the set, this tends to include interludes of stand alone instrumental pieces as well as songs from the EP and new material.

What kinds of feedback have you been getting from old fans who liked your folky sound?

We’ve had a huge amount of support and its continuing to grow . I think if you were interested in our band before because of how that album sounded you’d feel a little out of touch with where we are now.

There was a lot of squealing guitar feedback on the last EP. Can we expect more of the same guitar heavy approach on the new release, or is it going to be more electronic sounding like on “Bloom”?

Its quite honestly shaping up to be an equal mix of both sides to our sound. We’re not too concerned with staying rooted in a particular genre for this band we just make music and if its good we put it out.

Tell me more about the new album. I’ve been following your Facebook posts, and it looks like you’ve had something in the works since at least April last year.

We’ve been solidly working on new material since the last EP. We’re very selective about the ones that make it out though and we’re In no rush to produce a full length record until its ready and we’re proud of how its shaped up. You can certainly expect drops of new music throughout this year that will hint towards where we’re headed.

Have you been trying anything new in the studio?

We like to not be your average guitar band and that’s certainly reflected in the way we produce our records. Taking a lot of influence from hip hop we use a lot of organic samples, looping and editing to give it texture as well as sound. Production can take a song in so many directions so we focus on it as much as we do writing the song.

From what I can tell, Xtra Mile are a great indie label who look after their artists. What prompted you to start istartedthefire? I assume your last EP was independently distributed, because I cannot find any info about record labels on it.

Istartedthefire was born out my want to support a number of artists that I really loved and thought weren’t been given the attention they deserved. Unfortunately the label has taken a back seat in recent years to focus on my own projects but I hope to bring it back soon with a fresh bunch of records. The Solemn Sun EP was self released and not part of ISTF.  We’re going to continue down that path until we find someone who shares our vision for the future of the band, it gives us more control over it and means we can invest more in what we’re putting out.

How do you allocate your time between the band, the label, family, work etc…?

We all work extremely hard day to day so its difficult to juggle everything all the time and still make time for the band, we’re committed to it though and use any opportunity to write new stuff and plan ahead. Its calmer now working to our own timelines, so while we’re slower to release new music than full time bands we’re fully invested in what we make and have a stronger sense of achievement that we built it ourselves.

Solemn Sun Jim Lockey (2)

You started a label to support artists that deserve more attention. Here’s your chance to plug an underrated artist that readers need to hear. 

There’s almost too many to name so I’ll choose Andy Oliveri, he’s a an amazing musician who released stuff on istf in the past. He’s been writing and recording new material for his 2nd album and its truly mind blowing, though its not planned for release until the end of the year there’s wonderful shades of early Radiohead in there that are great.

Your videos and press photos are all stark black and white grey scale. Even my vinyl copy of the latest record is a gorgeous grey/white/black splatter. How far does this black/white aesthetic extend? (Stage backdrops, instrument colours, the clothing you wear, merch etc?)

Its all black and white. Everything. It not only fits our music but it’s a good visual representation of our sound too, black and white, light and dark, mellow and heavy.

Jim Lockey Solemn Sun LP Turntable Record
Speaking of the vinyl record, the inside sleeve bears striking resemblance to Deafheaven’s Sunbather album. Is this deliberate or coincidental?

We laid our logo out that way for the inner of the EP. We hate the idea of ripping someones creativity off for your own gain so I can assure you this was an unfortunate coincidence. The logo and icon were designed by a good friend of ours who based the concept on the idea of light and dark and the casting of shadows.

You have been able to tour with some incredible bands, and even played at the Olympic opening ceremony. What are your career highlights to date?

With this band, the highlight was releasing our first EP – for all we had to give up to pursue our new direction, and the time and effort we put into making it what it was.

Who is on your wish-list of artists that you’d like to tour or collaborate with?

I think we’d most like to be given the opportunity to play with bands that reflect each side of our influences, to have the chance to play in front of fans that don’t usually see guitar bands and rock fans that don’t listen to hip hop usually would be great. Collaboration wise it would be the same deal, we feel we can take this anywhere so if there is a chance to release songs with rappers and singers from other bands we’ll take it.

What are your upcoming plans?

Currently we’re working on new material for our next release and will be touring the UK before the end of the year, with a view to return to the EU next spring.


 

 

Solemn Sun are currently touring the UK supporting Crooks.

Solemn Sun:     Bandcamp        Facebook        Instagram         Twitter

 

Joseph James

 

Interview: Ash Grunwald

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Ash Grunwald answers the phone and then breaks off to yell to his young daughter to go see her mum.

“Sorry bro” he apologises.”I just saw a snake in the garden, and I wanted to make sure my little girl was safe.’

Living in Byron Bay, Australia, brushes with snakes and spiders are pretty common, he tells me.

“I’m pretty desensitised to spiders. I’m not even scared anymore. I used to be a bit. But snakes I don’t like. Here we have ’em all. We have all the venomous ones because where I live is sort of sub-tropical. We have the big pythons and everything. But the pythons are cool.

“Like I was having a shower – we have this outdoor shower. I looked up and basically next to me was this three metre python, just hanging. I was like ‘…oh. How’re ya goin?’ They’re absolutely harmless. Well… not absolutely harmless. They are harmless, but you don’t want them to bite you. They really hurt if they bite. And they’ll strike you like a machine gun – they just keep biting. You can get big scars and stuff like that. So you’re not going to just go pick one up, of course.”

Chatting with Grunwald is entertaining. He’s laid back and forthcoming. I observe that Byron Bay, with its annual Bluesfest, is a natural fit for a man who is known for his own swampy, blues-inspired music.

“Bluesfest was my ultimate,” he agrees, “I’ve probably played it three or four times. I’m from Melbourne originally – nice culture, shit weather. I’d come up to Byron and be like ‘This is paradise!’ I’ve got a family now. We’re about 20 minutes out, near the beach. It’s a nice little compromise. It’s not too busy and [you’ve] still got access to all those things that you love about it. It’s pretty alternative, and it’s an idyllic location. I probably did 20 laps of Australia [on tour] before I made my decision, after about seven or eight years on the road.”

Grunwald is committed to his local community, recently getting up-in-arms about coal seam gas mining in and around Australia. He has been pressuring banks to divest from mining companies because of the environmental damage that they are causing. It’s a clear theme in his latest album, so I ask him to elaborate on his views.

“For the last album there was a strong message very much influenced by my work trying to stop coal seam gas mining from coming into my area here, and also going to the front line, where they’ve already got it up in Queensland. The lessons that I’ve learnt in that are just passed on in the songs.

“In another interview I was asked about a song titled ‘The Worst Crimes Are Legal’, and I really do stick by that. I’ve done a lot of travelling in the third world and people say ‘oh, it’s so corrupt!’, but the only difference with the corruption is that it’s not legal, and it doesn’t have a lot of papers that need to be filled out in triplicate. But it’s almost, in a sense, more honest. There are many systems set up to benefit multinational companies, to benefit the rich more than the poor. It’s not a fair system.

“We’re all cynical now. For me to say these things, it’s no big deal. Often the sentiment is ‘yeah, we all know that. Get over it. Stop talking about it’. But if we talk about it, we might be able to change it…

“We’ve got farmers committing suicide over here. Because they get bullied by these gas companies. They feel guilty too, because they’ve had these farms for generations.  This is the first time in hundreds of years that the farmers know how the elders feel. We had elders at these rallies, now holding hands with farmers, and they’ve never been buddies really. Now they’re in the same position. Now the farmers know what the indigenous people feel like, because they’re experiencing this second takeover.

“These dudes [Gas mining companies] are getting plucky. That’s the thing that really got me off my arse. Early on it would have been in some regional town, away from where people can see. But now they’ll try for the middle of Sydney and crazy stuff. They were trying to get licences for right in the middle of Sydney, right near the water supply.

“Here in the Northern Rivers area we actually had a win. We never thought we would, but we actually managed to keep them away. They’ve left – poor corporates, they’ve been paid to leave by the council – but at least they’re gone. So it can happen! Things can be done if people do try.

“A lot of people don’t even listen to lyrics. You want it to work on a musical level perfectly, without any compromise, and then still have a message.”

“You want it to work on a musical level perfectly, without any compromise, and then still have a message.”

When I ask Grunwald to describe his sound, he calls it “an original take, roughly in the region of the blues genre. So it’s modern blues. Sometimes it sounds like blues rock – but not always. Sometimes it sounds like delta blues. . . and sometimes it doesn’t sound anything like blues, but often it’s in that rough region – it’s just a different take on it. And it’s my hope – and it’s up to others to say whether I’ve achieved this or not – my aim is to bring a freshness to the genre. Looking at it afresh and taking it in different directions. Almost going backwards, to the early stuff, to bring it forwards past what people normally think of the blues.”

One way that Ash brings this freshness to the genre is to use less standard instruments. For example, his recent albums eschew the use of electric bass guitar, with  the most recent album, NOW, featuring Ian Perez from Wolfmother using synths to record bass parts, and the album before that featured Scott Owen from the Living End on the acoustic double bass. Grunwald also has a tradition of using weird and creative percussion instead of drums, in the vein of Tom Waits.

“My thoughts on bass is the same as my thoughts on the drum kit” he tells me. “I have conventional drums on those last two albums, but before that I hardly ever had a conventional, straight-down-the-line drum kit.

“Straight-down-the-line drums and normal bass… I’m not really that into. There’s got to be a really good player playing it, or there’s got to be some reason. And if you want to do rocky things, OK, use the kit, use the right tools for the right job. But I love Tom Waits albums where it’s all a little bit different, you know? I don’t think that there’s any point doing things just exactly the same as things we’ve seen a million times before.”

So in order to mix it up and escape from a generic sound, Grunwald tries new things.

“Way back in the day I was getting pots and pans and hitting car doors with a hammer, and just weird things, just anything to break up that same old kit. It’s the same with the bass. If I’d gone and done a psychedelic rock album with the same old drums and bass it would have been too normal. I want to do something that sounds different and bring something new to the table.”

“And as it worked out with that synth bass, moog synth – beautiful warm analogue – it’s way bassier than you can get with a bass guitar. And different attack. A finger on a string is an amazing kind of attack for a bass note, that’s fantastic. But a key from a keyboard is a different matter. So you can have things that go [hums a fast, concise bass line] and it’s really precise, and really, hugely fat. And the fatness isn’t affected by amps, and strings and magnetic pickups, and all those acoustic factors. But still, a warm analogue synth can be impossibly fast. That’s what I like about the synth bass.

“I did one album where I built a cheapie drum kit and detuned it all. And then I just started grabbing bits of metal. And spanners, and pots and pans, and chains… and I just gaffer taped them all to the kit. And when I was overdubbing I would play on this junkyard kit. It was pretty out there. But what I did for years was having a guy play a car door with a hammer. That was pretty out there too.

“The first influence was Tom Waits, who pioneered that kind of thing. After that I went deeper and I went back and listened to a whole lot of field hollers. You know, the black slaves in America working in chain gangs and the only percussion is their tools hitting the earth, or hitting the trees or whatever. It’s almost my favourite genre of music, those work songs. So that influence comes into a lot of my songs over the years. I don’t think I’ve done an album for a very long time where there wasn’t some sort of junk percussion on something.”

Despite having nine studio albums, and numerous awards, I’d hazard a guess that the name Ash Grunwald isn’t that familiar to most New Zealanders. But most of will us have heard his song, “Walking”. Grunwald laughs when I suggest that he may be best known on this side of the Tasman as “the guy from the New World ad”.

“Well I hope I do get that, in a way, because it gets the music out there. They had to use somebody’s track, and I’m glad they used mine. We all go shopping. That song has been so good to me, because it was in a Hollywood movie called Limitless, which was Bradly Cooper and Robert De Niro. Bradly Cooper took this drug which gave him limitless mental faculty. And I was mega-stoked, because when he took the drug they put ‘Walking’ on turned up really loud, and put it in a montage scene. It was mastered really loud, and featured quite a bit in the movie, which was epic! That’s probably why I got that New World ad.

“It was good. It got it out there. I know there’s purists, guys like Tom Waits who would never want his music used for any product. And I’d love to be that much of a purist, but I don’t feel like in the standing of music, that I’m in a position to not appreciate the publicity from it. People are hearing my song, and I do appreciate that.”

Grunwald has covered some Tom Waits songs, and one of his biggest hits was a cover of Gnarls Barkley’s ‘Crazy’. I ask him to explain his process for choosing songs to cover.

“It’s got to be something you love – it’s a no-brainer if it’s an old blues song. You can bring it to people who haven’t heard it before, and that’s all cool. And when you pick something like a Gnarls Barkley song – I picked ‘Crazy’ – it’s gotta be interesting, quirky.

“‘Crazy’ was funny because it’s huge – everybody knows the song. It was a motivation to think that here’s a huge song that everybody knows, but it’s very soulful and right down my alley. And there’s another song I did on Trouble’s Door called ‘Sail’ by this band AWOL Nation. They’re so different to what I do, but that particular song has crossovers with what I do. So I thought it would be great. It’s like the old-school – someone brings out an album, and somebody else covers it straight away. It’s something that’s not very much done anymore, but it used to be done. I think its good to put an interesting spin on it. Hard to know – usually done on a case-by-case basis.”

I ask Grunwald about his past collaborations, and which people he would like to team up with in the future.

“I’d love to jam with Gary Clark Jr. Never say never in this industry. Never say it will happen, because there every chance it won’t. But never say it won’t happen, because sometimes it does. I’m going to do a recording. We have high hopes – and apparently quite realistic hopes – of getting Tony Joe White and Taj Mahal on the next album, which would be absolutely phenomenal for me. Tony Joe White is actually a huge hero of mine, and Taj Mahal is probably one of the most respected names in blues and roots music these days.

“And that came absolutely out of the blue. that had absolutely nothing to do with me. A producer from America contacted me and said ‘Come over. I’ll get you a flight. Come do an album’. … So weird things do happen at times!”

Grunwald mentions that he gets the chance to meet a lot of these legends in passing at Bluesfest.

“I met Tony Joe White about ten years ago and I frothed. I lost my mind. I thought it was really cool.”

I ask about how he manages to keep his head when has such a busy touring schedule. Initially, for his NZ tour, Grunwald had three gigs planned in a two day space. Now he has tacked a Raglan show onto the following day.

“Is playing Raglan a surf-motivated decision? Well, it doesn’t not factor in. I’m looking forward for going for a wave there, that’s for sure. The gig last time in Raglan was sick anyway so it’s motivation to go back.

“I like being busy. I really have burnt the candle at both ends this year. Part of me wants to slow down, but what opportunity do you decide to miss? That’s a tough one. But you’re not here for a long time, so it may as well be a good time and fit in as much as you can.”

And that’s Ash Grunwald, looking back into the past for inspiration, and then combining that inspiration with creativity to forge a new and original path ahead of him. Whether it’s working with different artists, trying odd instruments or playing in new places, Ash Grunwald is working hard to keep the blues genre fresh and inventive.

 

Joseph James


 

ASH GRUNWALD NEW ZEALAND GIGS:

Friday 27 November
BackBeat – Auckland
www.facebook.com/backbeatnz
1/100 Karangahape Road, Auckland
Tickets $20+ bf:
http://www.undertheradar.co.nz/tour/4966/Ash-Grunwald.utr
Doors open 8pm

Saturday 28 November
Blenheim Brews, Blues and BBQ (afternoon) with Salmonella Dub Sound System, the Nudge plus many more
For info & ticketing info go to http://www.bluesbrewsbbqs.co.nz

Saturday 28 November
Meow
– Wellington (evening)
www.welovemeow.co.nz
9 Edward St, Te Aro, Wellington
Tickets $20 + bf:
http://www.undertheradar.co.nz/tour/4966/Ash-Grunwald.utr
Doors open 8pm

Sunday 29 November       
Yot Club  – Raglan
9 Bow St, Raglan
Tickets $10 from http://www.undertheradar.co.nz/ticket/4994/Ash-Grunwald.utr
Doors open 8pm

ASH GRUNWALD LINKS:
www.ashgrunwald.com
www.facebook.com/AshGrunwald
twitter.com/AshGrunwald
www.youtube.com/ashgrunwald
ashgrunwald.bandcamp.com