Welcome to The Sludgelord!
Presenting up to date news, reviews & interviews for riff addicts around the world.
This is 'Liberation through Amplification.'
Allow yourself to indulge in a hefty dose of riffs; because it is time to
present 16 of the best albums
from August & September, it is time for yourSOUR 16.
You
know the drill by now, every couple of months you the
reader are unwittingly compiling a list of the top16 records,
covering all genres of metal. Is it not a chart, in which reviewers or
contributors extol their opinion about their favourite music. To put it
simply, THE SOUR 16 are
the records that have been trending the most at SLUDGELORD HQ.
The
results are compiled based on the amount of page views the reviews have
received and are then calibrated into the list below. All reviews
can be viewed by clicking the artwork and we have included album streams
wherever possible. (Total views since their publication are highlighted brackets)
16).
Craft, “White Noise and Black Light” (387)
15).
Clutch, “Book of Bad Decisions” (399)
14).
Satan, “Cruel Magic” (425)
13). 1968, “Ballads of the Godless” (437)
12). Organ Dealer/Nerve Grind/Invertebrate, “Split” (442)
11).
Allfather, “And All Will Be Desolation” (481)
10). Chubby Thunderous Bad Kush Masters, “Come & Chutney” (503)
The new
album is an experience and should be taken in as a whole. It’s an album that flows, jumps, and jives. It’s what Brant
wants to do. It’s the Brant we know. It’s the Brant we love. Long story short,
this album is a fine extension to his varied discography.
“Mankind Woman” CD//DD//LP track listing:
1. Chocolatize
2. Lazy Wizards
3. Charlie Gin
4. Mankind Woman
5. Pisces
6. Swagger & Sway
7. Somebody
8. Pretty Hairy
9. Brand New Old Times
10. 1968
11. Nation Of Indica
The Review:
Brant's a cool dude. That's a fact, Jack. Be it his cool blues of 'Saved by Magic,' or the cool drummer-dude-from-Kyuss-on-a-solo-trip
with 'Jalamanta,' all the way to the cool-guy-on-a-couch vibe of 'Local Angel.'
No matter which album you pick up, one thing’s for certain; Brant's
cool. Always has been. And if his new album, 'Mankind Woman' is
anything to go by, Brant will remain cool.
This time out, Brant's joined by Bubba DuPree on the
songwriting credits. You know Bubba as the guitarist on Brant's last 2 albums. Brant
has also opened the studio door for his 'special guest' Sean Wheeler, who steps
behind the mic on 2 tracks. By opening up this
release to the influences of his friends, Brant is also opening up his mind to a new
songwriting approach.
Don't fret, Brant's box riffs and blues solos are still
here. The 60’s and 70’s are still very much at the
forefront. As is Brant’s desert home. It’s just that this time out, Brant’s
given his riffs even more room to breathe. This is found in his slow, almost
reggae like approach to how he performs these songs. And it’s also abundant in
the album's production. The space creates a much more open atmosphere this time
out. Certainly in comparison to his 3 album run over at Napalm Records. With this
approach, Brant
brings the listener directly to the studio. Don’t be shy. Come
on in, the door's open!
Given that riffs have more space to breathe, so do the
songs. The general pace on this album is slower but no less
ripe for some good time live jamming. Yeah, there's a scorcher here and there,
but for the most part, Brant has cooled down considerably and is
playing it cool. And that's cool by me.
There's no sense cherry picking songs for this review.
The new album is an experience and should be taken in as a whole. It’s an album that flows, jumps, and jives. It’s what Brant
wants to do. It’s the Brant we know. It’s the Brant we love. Long story short,
this album is a fine extension to his varied discography.
So if it's cool you're looking
for, dig in to 'Mankind Woman.' The world's tense enough as it is nowadays,
certainly for Brant
as an American artist, so why not give yourself the opportunity to enjoy the
things you love. Be it your partner, your weed or your
rock and roll, there's something on this new Brant album that'll help you put
things into perspective. Just be cool and let it
happen.
Welcome back the sweet scent of freedom. Breath in the greeheen! BRANT BJORK has come to revive your spirit: The Kyuss- and Fu Manchu legend has just announced his first ever live recording
From the opening guitar riff of "Europe '16", recorded in Berlin, one can sense the buzz of classic rock electricity that transcends into new spheres. This is controlled madness between trippy and doomy, groovy and sludgy!
Set for release September 22nd on Napalm Records, BRANT BJORK has now revealed the cover artwork and track list of his first and highly anticipated live record. Not only that you can check out an exclusive track from the album below
“This record is live. Live records are ugly and they should be. When a band plays live, they let their hair down. Live is all that really matters. There are those moments in life when everything is ok and these are the moments when you are doing exactly what your here on the planet to do. You're right where you are supposed to be with no shame, no fear, no regret, no envy, no hatred and no apology. I always say this band brings a feeling. The feeling is always primary and the sound, secondary. At least to me. In the book of Tao, there is a passage..."naming is the origin of all particular things". I use here the term ugly to refer to my naming of my particular relationship with my soundscape. my my my. Why the term ugly? Because its the opposite of pretty. As the popular saying goes, "It is what it is". As for my music, my band and this live record, I prefer to say, "it is what it isn't".” - Brant Bjork on Europe '16.
“Europe ’16” track listing
1. Buddha Time 2. Controllers Destroyed 3. Humble Pie 4. Stakt 5. The Gree Heen 6. Lazy Bones-Automatic Fantastic 7. Stokely Up Now 8. Dave's War-Dave's Peace 9. Biker No. 2 10. Freaks Of Nature 11. Low Desert Punk 12. Let The Truth Be Known-Jumpin' Jack Flash
To also celebrate the release of the record, you can catch BRANT BJORK on tour in Europe here:
Live Rituals
04.08.17 GR - Almiros Magnisias / Los Amiros Festival 05.08.17 AT - Waldhausen / Lake on Fire 06.08.17 HU - Budapest / Tixa 08.08.17 DE - Hamburg / Sommer in Altona 09.08.17 DE - Stuttgart / Universum 10.08.17 CH - Duedingen / Bad Bonn 12.08.17 BE - Kortrijk / Alcatraz Festival 14.08.17 CH - Martigny / PALP Festival
'Gree Heen Europe 2017' with special guest Sean Wheeler:
26.09.17 Stockholm | Debaser Strand 27.09.17 Stavanger | Folken 28.09.17 Oslo | John Dee 29.09.17 Gothenbourg | Sticky Fingers 30.09.17 Copenhagen | KB 18 01.10.17 Hamburg | Logo 02.10.17 Leipzig | UT Connewitz 03.10.17 Bielefeld | Forum 04.10.17 Amsterdam | Melkweg 05.10.17 Eindhoven | Effenaar 06.10.17 Pratteln | Up In Smoke 07.10.17 Aschaffenburg | Colossal 08.10.17 Brussels | Botanique 09.10.17 Rennes | Ubu 11.10.17 Bilbao | Kafe Antzokia 12.10.17 Porto | Cave 45 13.10.17 Lisbon | RCA Club 14.10.17 Madrid | Caracol 15.10.17 Barcelona | Bikini 16.10.17 Marseille | Jas Rod 17.10.17 Torino | Blah Blah 18.10.17 Ravenna | Bronson 19.10.17 Zagreb | Vintage Industrial Bar 20.10.17 Wien | Arena ( with Stoned Jesus + Beastmaker ) 21.10.17 Munich | Keep It Low
Throughout “Tao of the Devil,” Brant Bjork’s
tenth solo album, he has gone and mixed all of his solo efforts together with a few
firm shots of tequila. The result of which is an album that’s as welcoming as a
cold glass of margarita on a hot summer day. There’s plenty of that “Jalamanta”
haze, but the tunes here are mostly a
throwback to Brant’s time
flinging licks with The
Bros. There’s some Santana and Hendrix swing felt
throughout, and like these idols, Brantconfirms on "Tao of the Devil”
that he isn’t only a songwriter but also a master of groove. In short, “Tao of the
Devil” is prime example of what Brant Bjork does best and today at The Sludgelord we are
delighted be bring you the official premiere of his brand new video for “Luvin’”
You
know the drill, each month; you the reader are unwittingly compiling a
list of the top 16 records that we featured in September, covering all genres
of metal. Is it not a chart, in which reviewers or contributors extol
their opinion about their favourite music. The ‘Sour 16’ are the records that have been
trending the most at Sludgelord Headquarters.
The
results are compiled based on page views alone and calibrated into
the list below. All reviews can be viewed by clicking the artwork and we
have included album streams wherever possible. (Total views since their publication
are highlighted in red).
16). Worshipper - "Shadow Hymns (475)
Musically,
with this being somewhere between Black Sabbath (Dio era in particular),
Monster Magnet and anything from Witchfinder General to Angel Witch I feel that
there is something for most metal fans to enjoy here. Throughout the eights
tracks there are lots of ideas, lots of riffs and uniformly great performances
from the band. This album surprised me with its scope and approach, so please
lend your support and check Worshipper out as this is a rewarding and well
crafted album.
15). Thou - "Peasant" (2016)(536)
14) Usurpress - "The Regal Tribe" (651)
This
album is an album, in a
profound, coherent and meaningfWorshiul way. It is heavy, dripping with dynamic and
interesting, organic changes. The sound is warm but never suffocating, and it
is brutal both when holding back (“The Mortal Tribes”) and unleashing (“Behold
the Forsaken”). I hate to use the word genre-defying, but whatever fusion of
death, doom, stoner and black metal Usurpress have evolved into, it is their
voice, it is seamless and mature, and displays no sense of affectation.
13) Lesbian – “Hallucinogensis (656)
“Pyramidal
Existinctualism” sounds like Mastodon after their drinks have been spiked with
LSD and “Kosmoceratops” is epic fist-pumping thrash that takes a left turn into
weird, uncharted territory. “Labrea Borealis” and“Aquilibrium” contain more
melodic passages that expand the band’s horizons further into cinematic
grandeur before crashing back to Earth for further, wild fretboard
explorations. Overall “Hallucinogenesis”sees Lesbian achieve a perfect balance
of labyrinthine complexity and headbanging simplicity.
From cellos to righteous crescendos, this song album plumbs the depths
of heavy prog and, weirdly, allows the listener to reach new heights as a
result. Paradoxical? Sure. Bloody invigorating? You better believe it, buddy.
10 tracks of heavy, expressive, expansive music, just waiting to show you just
how mythical Greek metal can be. Pray to the Old Gods, and seek salvation
in‘Harmonic Confusion’.
11). Brant Bjork - "Tao of the Devil" (703)
In short, “Tao of the Devil” isn’t much
different than Brant’s other albums in that it’s both a look back and a step
forward. And like his other solo albums, this one can stand alone as a prime
example of what Brant Bjork does best.
10). Asatta -"Spiralling
Into Oblivion"(768)
This
is cracking stuff and a worthy addition to the ever expanding doom canon,
"Three Dials”is Crushingly heavy and really fucking noisy, "Lapse”
features some swinging grooves to go with the slothful doom sounds, “She Died
Long Ago” is a slow trudge through the darkest of doom- and echoes Candlemass
rather than Conan in its approach. A fine debut then and an indication that
there are great things to come from Asatta, who have positioned themselves up
there with modern doom's elite.
09). Mouth of the Architect - "Gates of
Flesh" (815)
“Path
Of Eight”is a fine demonstration of a band evolving their sound without losing
sight of what made them great in the first place. Mouth of the Architect have
come into their own with this record and hopefully it will gain them some much
deserved attention.
08). Khemmis – “Hunted” (891)
Overall,
‘Hunted’ is an extremely solid follow-up to their critically acclaimed first
album. It is a melting pot of some hugely powerful styles of heavy metal music
and the flawless coalescence between cataclysmic doom and melodic prog is a
truly impressive feat. Khemmis are a band on a mission and so far, they’re
doing it all right.
07). Mammoth Weed Wizard Bastard - "Y Proffwyd
Dwyll" (928)
“Y
Proffwyd Dwyll” is a celestial voyage of crushing density. “Valmasque” sets the
tone for the album, establishing a towering wall of sound built from huge
lumbering riffs, set against a backdrop of swirling space noise and sci-fi
synths that enhance their attack and swell their sound to a galactic scale.
Mammoth Weed Wizard Bastard have struck gold here with their distinct brand of
spaced-out carnage.
06). Trap Them - "Crown Feral" (1035)
...the tracks
that are strong, like “Hellionaires” and “Revival Spines” in particular, really
need to be considered the best stuff Trap Them has ever written. And while
opening track “Kindred Dirt” didn't immerse me in the album in the way I'd
hoped, by the time we reach “Twitching in the Auras”,there can be no doubt that
Trap Them have made a definitive and impressive move forward on all fronts. The
sound is overall excellent. Lyrics are angry and powerful and riffs are deep
and plentiful. Strongly recommend, and an excellent reason to continue to
follow this excellent band closely.
Giraffe Tongue
Orchestra have forged a sound that is unlike any other and more than just the
sum of all its parts. “Broken Lines” is, in all, diverse and thrilling and one
of the most unpredictable records you’ll hear all year.
04). Meshuggah - "The Violent Sleep of Reason"(1529)
Trying
to describe Meshuggah’s sound is a challenge. The only way I can put it is that
they’re a musical cascade: a never-ending barrage of sound and heaviness
pounding down upon you. Don’t expect or ballad or moments of levity here, this
is a relentless tide which you will not escape from. Tracks like
‘MonstoCity’and ‘Our Rage Won’t Die’ are pummelling tracks of new material
which can easily be slotted in to their live setlist and not seem out of place.
In fact, the same could be said for any of those songs on display here: like a
chain forged by Vulcan, there’s not a weak link present. It all hits, and hits
hard.
03). Ayahuasca – “YIN” (1631)
Throughout,
nothing ever quite sits right, like a jigsaw with a few missing pieces: The
spasmodic guitar work of ‘Dark Matter God’ is a fitting example of this. Yet
they find, upon that uncomfortable platform, a way to drill into your psyche
excellently. It may be weird, but it has an uncanny way of selling itself to
you.
02). Neurosis - "Fires Within Fires" (1674)
1). Suicdial Tendencies - "World Gone Mad"
(2363)
It flows in a virtually flawless manner and
I do believe “World Gone Mad” will be remembered as one of their best records,
ever. This one’s a home run with a bullet.
A
big thank you as always to our amazing writers, your dedication knows no
boundaries and for that I am truly grateful.September’s “Sour 16” features reviews by: Richard Maw, Theron
Moore, Charlie Butler, Chris Bull, Victor Van Ommen, Philip Weller, Conor
O’Dea, Jake Wallace, Chris Markwell & Jay Hampshire
In short, “Tao of the Devil” isn’t much
different than Brant’s other albums in that it’s both a look back and a step
forward. And like his other solo albums, this one can stand alone as a prime
example of what Brant Bjork does best.
‘Tao of the
Devil”CD//DD//LP track listing:
1).
The Gree Heen
2). Humble Pie
3). Stackt
4). Luvin'
5). Biker No. 2
6). Dave's War
7). Tao Of The Devil
The Review:
Throughout “Tao
of the Devil,” Brant has gone and mixed all of his solo
efforts together with a few firm shots of tequila. The result of which is an
album that’s as welcoming as a cold glass of margarita on a hot summer day.
There’s plenty of that “Jalamanta”
haze, which is really nice to have back, but the tunes here are mostly a
throwback to Brant’s
time flinging licks with The Bros. Naturally, there’s some Santana
and Hendrix
swing felt throughout, and like these idols, Brant confirms on "Tao of the Devil” that he isn’t only a
songwriter but also a master of groove.
On this, Brant’stenth solo album, he’s brought
along some heavy hitters for the ride. There’s Dave Dinsmore to handle the
low-hanging four-string, Bubba DuPree checked in on the fuzzy six string, and
the young gun Ryan Gut keeps a heady beat with his open handed delivery behind
the kit. This is by far Brant’s best backing band since the days he
traveled the world with Cortez, Cordell, and Peffer.
With an underlying message of love, peace, and
harmony, “Tao of the Devil” is just
what you’d want from a Brant Bjork album. This Low Desert Punk has always been
about vibe, and on this album he serves it up in spades. A cut like “Luvin,” for example, keeps things
snappy with its stop and go fuzz riffing. The riffs talk back to Gut’s command
of the snare, and eventually even a tambourine during the song’s second chorus.
Here Brant sings “keep on lovin’ like your day is done” as a call to arms for
those listening in. Brant wants us to stop our bullshit and get
down to some good times. This message pops up in “Stackt,” too, though in this cut the lyrics are packaged in the
down and very dirty low end, which is so, so good.
But as the album’s title suggests, these tracks aren’t
all good times and high fives. There’s an overwhelming sense of the blues on
these 7 tracks/ 37 minutes, too. Brant doesn’t even try to hide the sadness or
despair this time around, staking claim in the title track that he’s “got
the blues right down to his bones.” In “Dave’s War,” the band’s attack is at its hardest – though I dare
you to refrain from snapping your fingers to the beat – while Brant
spews tales of running low on things he loves. A lyrically heavy concept, sure,
but it’s a side of Brant that also needs to be shown.
In short, “Tao
of the Devil” isn’t much different than Brant’s other albums in that
it’s both a look back and a step forward. And like his other solo albums, this
one can stand alone as a prime example of what Brant Bjork does best. He is
able to sum up the good life, let us know that it’s all good, and as long as we
keep our cool, we’ll be fine. Brant’s a wise man with many stories to tell
and luckily those of us hanging out in the heavy underground love to hear these
stories told.
If
you have listened to anything my band has churned out, a lot of it has an ode
to the stylings of Nick Oliveri. I was a huge Queens (QOTSA) fan while he was
present and totally destroying bass lines as well as great vocals, especially
on my favorite tune, ‘Millionaire’. Therefore,
when approached about chatting with Nick before his 38 day overseas tour, I
jumped the fuck at it.
It
is not every day you can converse with someone that you revered for the music
he has put out and music that has clicked in a part of your growing up as a
musician from 20 something into your 40’s. I
am going to say that this was an interview that flowed and weaved in and about
such subjects as Ian Gillian singing for Sabbath or what songs are pleasures to sing
when doing an acoustic gig.
The
thing that levitated higher than anything was when we spoke about what that
Nick loves to play and truly loved making music with the gentlemen he grew up
with. There was no guarding; rather he openly discussed his love for Brant,
Josh, especially Mario Lalli and others.
Sit
back, relax and make a smoothie of sorts, or a jack and coke or whatever floats
your boat down Oliveri lane.
Sludgelord:
Hi Nick, thanks for taking the time and having a chat with us while you are
getting ready to hop on a plane a few hours from now.
Nick:
You think it would be harder getting stuff together with a full band, but here
I am just myself and an acoustic guitar and it’s not an easy thing (laughing.)
Sludgelord:
You have more shit to worry about since it is just you?
Nick-
Yeah, I have my stuff on my shoulders to get ready
Sludgelord-
So hitting the road on your own, there is a ton of material in your catalogue,
are you picking and choosing from Kyuss to Queens…, to your last record, in which I fucking loved
that sum bitch?
Nick:
There are some set some songs I am gonna do you know, some tunes that have to
be in the set, people in Europe come to see me and will want some Kyuss
stuff like ‘Green Machine’, so I will make sure I will play that, you know if I
am in Ireland, and we are having a great time and everyone is singing along
too, if someone yells out a Ramones song I will play that too, It is part my
show and part their show and we are all doing the ‘Death Acoustic’ thing
together is what makes it work. I love it when people are singing along and if
they ask me to play a song, if I know it, I am gonna play it. But like I said
there are certain songs I like to play, like I have a certain opener and a
certain one to close with. Singing wise I have to throw a few of the rougher ones
closer after I fry my voice my bit, it starts to sound good and raspy so I will
put them there. There is stuff for later for when my voice sounds stressed and
stuff that sounds a little nicer in the middle, sing a little softer, actually
I put the raspier stuff very much in the beginning, the middle and I guess the
ending too(laughter from both.) I am doing 36 shows in 38 days so I am gonna go
over there and it is gonna be a good time. A lot of hurry up and wait. I have a
person that will be driving me, but when you are by yourself you are sitting
there, do I drink a beer, talk to people, I love talking to people and for me
that is a lot of fun. You know I actually did an acoustic tour in the states
when at the end I was actually driving myself and then you go everywhere, it
was a hard one. Your shows start to falter too when you are staying awake just
trying to get to the gig. You start asking yourself what are the words to that
song again?
Sludgelord:
What was the impetus to do this tour by yourself and not with a full band?
Nick:
Well, when I do my band, in which I love doing as I have a few of them, when I
do my own band, I make sure my band makes money as they have kids and I don’t.
I am gonna be ok at the end of the day, but I always wanna make sure that my
band goes home with something. They get paid before I get paid. So for right
now, for lack of a better word I need to do these acoustic tours and make some
money and that is the god’s honest truth. I am gonna have a great time, have
fun and meet some great people, but it is also work you know. When you are up
on stage by yourself, you have no one else to depend on, you can’t look at a
band mate and say wow, you killed it. If you hit a bad note or sing a bad note
you have no one getting you ought of it. Its there and people are seeing and
hearing it. The rule I have, Mistakes, don’t make them.
Sludgelord:
That’s a great fucking shirt, ‘Mistakes, Don’t Make Them’
Nick:
it’s truly what a stripper feels like when she gets up on stage, it’s all eyes
on her. I didn’t appreciate strippers as much as I do now, because really it is
them all alone on stage.
Sludgelord:
Are you a big gear head when it comes to touring?
Nick:
I am down with gear, I like gear. I collect stuff mostly old stuff, some of the
cheaper bass stuff like the acoustic 360’s, well they are not cheap anymore,
but the old Sunn Heads, Entwistle used Sunn’s and John Paul Jones played an
Acoustic Head, those things sound great, Used to be able to find them at pawn
shops for 160 bucks, now they are all sought after. Tubes sound warmer, but for
traveling I have been going with SolidState lately. They can bounce
around, take the heat and be practically fine. With tubes, you gotta match them
if something goes wrong and fix it and who am I kidding, I do not have anyone
carrying my gear at the moment.
Sludgelord:
Back in the day, were you running 2 8-10s with a Mesa
Boogie and SVT head?
Nick:
My band was doing quite well so I used a lot of stuff. The Mesa
was a 400 t with 20 tubes in that thing, was bad ass. Remember they used to
make Mesa’s with the road case built right in
it. Those things, you could get in a car accident and the mesa was still ready
to roll. But like anything they are a lot of money to make and fix, but they
seem to be a sought after amp. They sound great and they are awesome.
Sludgelord:
I saw you guys tour, in which I think was the start of the tour when you came
out with all white tolexed cabs
Nick:
That was fucking sick, so awesome
Sludgelord:
Then I saw you later on that tour. You were playing 2 Ampeg cabs and that 400t
and it was so fucking loud.
Nick:
Yeah, I was facing my cabs at each other with an omni mic in the middle and
were so loud before that we could not hear the vocals, so that was why we
started facing the cabs at each other, Josh was playing a v4b, so he was
cranking that up for tone, we turned it up to get the get the crunch and for
our sound man to be able to do his thing and have a little to play with.
Sludgelord:
It sounded im- fucking- peccable my man, insanity, and you also had the Brian
Wilson pic on the cab also.
Nick:
Our sound man Hutch is one of the best in the bizz for sure. I think he is
still working with the Queens, I saw him
recently and it just sounded so good. I forget whom he was doing sound for but
it was amazing, I walked around the Wilshire and would notice where it would
sound like shit, Hutch walks around the whole room to make sure it sounds good
in every part of the club.
Sludgelord:
So the person driving you around, will they also perform as your snd person?
Nick:
She is a friend of mines girlfriend who
tour managed the Dwarves so she is gonna drive and also help with the
selling of merch. I am going to rely on this little Di I have, this little
electric acoustic amp with a mic and if the sound guy can’t get that going, I
am going to be bummed. If you can’t get the vocals up over the guitar we are in
for some trouble. We are going from Romania, Croatia and Iceland. The
language barrier sometimes, you ask for the guitar to be brought up, I have
learned to be patient and point at the instrument, and it turns out all good.
They for the most part all know how to speak English, I wish I knew how to
speak another language, but hey the more they know, the better my night will be
imagined,
Sludgelord:
What you bringing over for guitars?
Nick:
I have a Hofner and they are great, I have yet to get one of the Paul McCartney
ones not for playing but would love to record with one. I also have a Maton
from Australia which I use. It has a whole in
it, stickers all over the thing, it has been through the ringer and back.
Sludgelord:
So you are doing ‘Death Acoustic’ and just before the end of the year you come
out swinging with a bad ass rock record, 'Leave Me Alone'. I thought it was better than the last album from the other band you used to play in and my band gets lumped in with Queens all the time and Kyuss. So for me, your album really brought a lot of
emotions from high and low and had some bad mother fuckers playing on it. Hit
me with how you came up with the idea of the album and how you came up with the
guests to lay down their style and mesh with yours.
Nick:
Lemmy got sick and Phil Campbell who is a friend of mine text me while I was
making the record and I text him back and letting him know I was making it, he
replied back, what do you need done on it? Do you need guitar and I was like ‘yes,
you kidding me’, one of my heroes, would you play a solo on it.
Actually I was gonna do another
acoustic album but then I decided I would make an electric album and play drums
on it, then I thought it would be even more interesting if I played drums, bass
guitar and sang on it. So I needed some solos and would have never thought of
asking Phil because I thought he would say no, and he did. Once that happened I
started Calling friends, I called Dean Ween, he did his right away, I let them
have full creativity as far as the solos and wanted them to put their signature
solo on there, I wasn’t gonna say, can you put a bend right here, and a pull
up. You can hear the other guitarists know that the other players are on it and
everyone was going for it. I got 15 seconds to shine so I am gonna show my
thing and they are really going for it. I was so happy how it turned out.
Sludgelord:
You can tell it’s a communal album and has a nice grooving vibe, you are like a
heavy Todd Rundgren.
Nick:
It was short and sweet and to the point. I was gonna make a longer record but
kids today don’t have time for a double album. People are digging vinyl but are
still listening to a song or two. Fuck, I could definitely sit down and still
listen to a whole record. But I do understand people do not have that time and
it is what it is, so I figured if I put out a few shorter albums this year it
would be better than one long one. I’m trying to work on a new now, Joey
Castillo on drums, my band is gonna do a split with EyeHateGod. Looking at doing a
new Dwarves
record. Trying to stay busy and keeping the ball rolling. The key is playing in
stuff that I like.
Sludgelord:
That is the key, if you can smile at work, you are beating the system.
Nick:
If it’s not something I love, I can’t do it with conviction. I can’t get behind
it and I can’t do it. I have been fortunate enough to have some great friends
that will have me on their records and in their bans,
Sludgelord:
It definitely shines through in everything you have done. I was chatting with
Mario Lalli about ‘Millioniare’, its one of my all-time favorite songs, and
your delivery is a mother fucker on it.
Nick:
It is badass. I love Mario. I have known him for a long time. He is a great
inspiration from the desert scene, where we are from down there. He is a bad
ass man, been making great songs for a long time. I saw him in 9th
grade at lunch time, they were called Across the River and it blew my mind, Alfredo
on drums, Reeder on bass either Mark or Mike Anderson I can’t remember his name
and Mario on guitar. It was badass. Mario went through this phase when he
wouldn’t sing for a while, he was doing an instrumental thing with a mic set up
but wouldn’t use it. Everybody would go and wait for him to sing because when
he sang it was great. Then one day he started singing again and it was amazing.
Sludgelord:
Because you are in 9 thousand bands, there is a similarity but sonically they
are all on a different palette. Is that something you strive for? Because each
time I see you play, no matter whom it is with you have a huge fucking smile on
your face.
Nick:
I really get off on playing. I get so many different things for all the bands I
have been fortunate to and still play with. I don’t play in another band that
sounds like the Dwarves,
I don’t play in another band that sounds like Bl’ast. The thing is, some of
these guys are my favorite musicians so why would I not play with these guys.
Sludgelord:
You as a musician, as there certain cats that you site as humungous influences?
There are a lot of different things I hear coming via musically and vocally.
Nick:
I am a huge Thin
Lizzy fan so I hope that comes through. There are not a lot of bass
player singers as there are guitar player singers and I don’t think Phil is one
of those that gets enough praise for his bass playing. There are a lot of
opposing notes in his bass lines while he is singing when you try and dod that
as a player and singer is really hard, how is he doing that. Of course I like Sabbath,
Black Flag,
I love Rose
Tattoo, and I love the simplicity of Rose Tattoo. That is a lot of
what drives me. ‘Rock and Roll Outlaw’, ‘Nice Boys’ ‘Don’t Plat Rock n Roll’. I
throw that shit on when I’m in different moods, Motorhead, you put on ‘Bomber’,
it’s got everything, just killing it. ‘Volume 4’ by Sabbath, ‘Highway to Hel’l, Then
the Brian Johnson era ‘Back in Black’, takes me through my childhood. I slept
with this girl for the first time and the song was by AC/DC. I was so lucky to
grow up in a time with such great music. We had the RamonesAC/DC and Evil Kinevil growing up and kids
don’t have that growing up. They have time outs. We learned the hard way.
Sludgelord:
A thing that pops up to me, were you a Deep Purple fan
as a kid
Nick- Fuck yes, I will have no idea
where things come from at times and then I will listen back and will say, that
sounds like Devo
or Deep
Purple. It’s a tip of the hat and obviously came from a great place.
Bringing up Deep
Purple, the Born Again album by Sabbath, that’s a good record. For a later
band with three singers, that is a great record. You wouldn’t think because
they got the singer from Deep Purple to sing with Sabbath you think it
might be ok, but that album is rocking, it kills it. I’m putting it on after I get
off the phone.
Sludgelord:
So you are touring as a singer, guitar player, bass player, writer, drums on
the last album, do you see yourself as one of the above or a guy who simply
fucking loves everything about playing music?
Nick:
All of the above, I am the best at playing bass, I am aware of that, however, I
write songs on guitar, and drums are fun. I once had a person tell me you
better get a punching bag or a drum set, well drums are musical so I will get
those. So I can hit them hard and playing is a really good time for me. The
last record I wrote some of the riffs while playing drums so it’s a little
different than I am used too. Then when I transposed it on guitar, it sounded
like a cool riff. I had to practice to get my stamina up so I could make sure I
could play them in the studio. I was really happy with the way it turned.
Sludgelord:
So you have this tour, are you looking to bring this show west coast and even
east coast or what are your plans?
Nick:
I would like to do it. In September, October and November I have stuff with the
Dwarves,
not every day but we will do shows on weekends, 5 show clips. I wanna do some shows out East and try on
days off to set up some solo shows with whatever band I am with. Plus Fenway, one of the original ball parks
left. That and Wrigley, They tear them down, there would be an issue. Speaking
of Boston I loved Draw the line by Aerosmith, they rocked so hard back then.
Sludgelord:
So for guys our age, you must have been a Van Halen
fan.
Nick:
They fucking Rocked. Everything about them was so huge, it wasn’t the Beatles
but you could listen to the band with your parents, Zep was like that too, was so
fucking good. I got to hang out with Jimmy Page and he was so nice. The
guitarist I was hanging out with said Jimmy, “I grew up with your music, and
Jimmy said, I did too mate” and left, was amazing.
Sludgelord:
So having the utmost privilege to converse via interviews with other musicians
you are from, Tony Tournay told me once that he was with Josh in 98, just the 2
of them were up, touring overseas and he looked at Josh and said. “Do you
believe we are touring and playing music for a living with guys we grew up
with” Are you still close with people you grew up with?
Nick:
Yea I am. I just did a guest Dj thing at the Monty Bar and I saw Josh and Brody
and I see Tony every now and again. Tony will come out to see an acoustic show
and show support. I really think it is supportive to stay close, I saw Brant
not long ago at a Bl’ast show, invited him on down, put him on
the list, It’s important to stay close with your friends, even if you have had
a falling out at times. You are living your life, hanging with each other, on
tour with each other, and sometimes we have an argument but its more like
brothers fighting, no big deal, right?
We still all love each other like bros and I know in a real fight they
would all have my back and I love them for that.
Sludgelord:
Well my man I know your flight is gonna leave in about 11 hours so I just wanna
say Thank you so much for taking the time and I wish the tour is an amazing
success and above all else, life lets you rock the roll
Nick:
My pleasure and thanks again for speaking with me and take care.
As you can clearly see by the words
and heartfelt answers, this man is a musician that has his hands in many pies,
some custard, some apple, some pumpkin, the thing is, taken out they are all a
delight to eat. They leave you simply wanting more. Nothing is better than listening to an album
or a live show and you simply get in your car or on a train and need to turn
that shit on, so the ultra high of the melody stills spikes a place in the
medulla and cochlea. The boogie keep on
racing at a 4x4 tempo or at an outright 7/8 jam of proper and nut slapping
proportion.
If you are overseas and Nick pulls
into town with his acoustic and you miss it. Take yourself to the nearest ER
and see if your nuts still work and if you still have a beating in your heart,
because to miss these shows is to miss a man on a plan and also on a journey of
letting rock n roll be his muse, and the key is, to have fun with the audience.
This is not as common as you think;
some cats get up and will not deviate from that list,
even if the crowd is yearning for it, like the characters from 28 Days Later.
They have a rage and a few songs can turn that rage into a head bopping and
locking groove of the funk stature, because the fan has come first and this has
been relayed to them. So when you go to
witness an artist like Nick, enjoy what he does and have fun with it. The more
fun you have, the way more fun he will have and this is simply called a
connection. Connect and let the music be your Sherpa through the valleys and
peaks of rock n roll.
I truly wish you the best in all you
do, ‘The names Dalton,’ ‘Man, I’d thought you’d be bigger.’
Full list of Remaining Tour dates:
August 5th: Jagerklause (Berlin, GER)
August 6th: Ostpol (Dresden, GER)
August 7th: La Casa (Cottbus, GER)
August 8th: TBA (Bucarest, Romania)
August 9th: Chez Heinz (Hannover, GER)
August 10th: Hafenklang (Hamburg, GER)
August 11th: DB’s (Utrecht, NL)
August 12th: Gebr De Nobel (Leiden, NL)
August 13th: De Pul (Uden, NL)
August 14th: The Lane (Oostburg, NL)
August 15th: De Hip (Deventer, NL)
August 16th: Leperfest (Leper, Belgium)
'Leave Me Alone' by Nick
Oliveri’s Uncontrollable is out now on both regular LP/CD and collectible
leather sleeve LP through Schnitzel Records and is available for streaming at
the link here and you can read your review here
