Classic rock hits from the original KISS guitarist and R&R Hall of Fame inductee. The success of Ace Frehley’s solo career, as both a recording artist and performer, has easily outpaced his KISS band mates.

His 2014 release Space Invader was the only post KISS solo album to crack the Top 10 on Billboard’s Top 200 albums chart, and his acclaimed 2011 autobiography No Regrets went on to become a New York Times best-seller.  Ace’s next album, Origins II, is set for a Fall 2020 release and will feature guests Robin Zander (Cheap Trick), Lita Ford, Bruce Kulick and John 5.  

With KISS on their farewell tour Ace is in the news just about every day - mentioned in every article referencing KISS as the original lead guitarist with most writers commenting that KISS is not the same without Ace.  

Here is what Rolling Stone had to say on the topic – Article 

Ace Frehley - Bio

Here are a few things you probably know about Ace Frehley: He’s the original lead guitarist for KISS (which he co-founded in 1973). He was also their best—his song-within-the-song guitar solos are as much a part of KISS as the band’s seven-inch platform boots. And he’s always been the coolest member of KISS—rock ’n’ roll swagger, laid-back, mysterious—just ask Tom Morello of Rage Against The Machine, or Naoko Yamano of Shonen Knife, or Abbath of Immortal. Hell, even people who don’t like KISS still love Ace.

What you may not know is that Ace Frehley has not been a member of KISS since 2002, when he left his second tenure with the band (there’s a “spaceman” currently playing leads for the band, but it ain’t Ace). In his time away from KISS (1983-1996, and 2002-present), Frehley has put together the most successful solo career of any member—current or former.

And Ace is on a roll. He’s ready to embark on his next musical journey with ​Spaceman,​ his third solo outing in four years. Of all Ace’s post-KISS recorded output, ​Spaceman​ might be the closest link to his widely acclaimed 1978 solo record, both in spirit and execution. First off, Frehley played all of the guitar parts on ​Spaceman​, as well as bass on all but two songs. Longtime drummer Anton Fig, whose friendship with Ace began in that 1978 record, also appears on “Off My Back” and “Pursuit of Rock and Roll” (longtime collaborators Scot Coogan and Matt Starr also play drums on ​Spaceman​).

There’s also a thematic, almost biographical, thread running through the album of a long life in rock ’n’ roll, although Ace admits it wasn’t intentional. The first single “Bronx Boy” lays out Ace’s pre-KISS roots, running wild with an Irish street gang called the Ducky Boys. It might be his grittiest song to date, with an opening riff that lashes out like a switchblade.

“Pursuit of Rock and Roll” ticks off a list of rockers that made Ace who he is, including Little Richard and the Stones. Frehley also makes it clear that rock is truly all he needs: “So sick of looking at reality TV / and like the Beatles said, you gotta ‘Let It Be.’”

Ace’s cover of Eddie Money’s “I Wanna Go Back” gives the song a ripping power pop makeover. It was chosen for the record by Ace himself. “I was laying in bed with Rachael (Gordon) watching YouTube videos, and that song came on. I told her I was gonna cover it. It’s about me.”

“No need to worry, I’ll be home soon, ’cause I’m rockin’ with the boys,” Frehley sings on “Rockin’ With the Boys,” which tells the tales of life on the road. Ace says he wrote the original version of the song back in KISS’s heyday in the ’70s—if you listen closely, it could almost be seen as a rockin’ counterpart to the Peter Criss-penned KISS classic “Beth.”

Speaking of KISS brethren, let’s get back to those two songs on Spaceman​ that Ace didn’t play bass on. One listen of opener “Without You I’m Nothing” should be a dead giveaway. That mighty dinosaur growl of a bass tone belongs to Gene Simmons, who co-wrote that song, along with “Your Wish Is My Command,” with the Space Ace at Frehley’s home studio in Rancho Santa Fe, California.

Ace recalls a relaxed three hours of hanging out, writing songs, and eating sandwiches with Simmons, who roomed with him back in the KISS daze. A lot of barbs have been thrown by both over the past couple of decades, but there’s still a mutual love for one another, made clear during Ace’s recent stints on Simmons’ Vault Experience.

His reconnection with Simmons and fellow KISS vocalist-guitarist Paul Stanley (who joined Ace on a cover of Free’s “Fire and Water” for 2016’s covers LP ​Origins, Vol. 1​) might be chalked up to the fact that Frehley has been sober for more than a decade (he celebrated 12 years of sobriety in September). Ace’s clean living no doubt has a lot to do with his productive streak, which began with the release of his top 20 Anomaly a​ lbum in 2009, his top 10 Space Invader LP in 2014 (a first forany​ KISS member); and continues with ​Spaceman​ (a title suggested by Gene himself).

Spaceman​ is a lean-and-mean nine tracks, and includes what has become a trademark for any Ace joint, a cosmic instrumental. “Quantum Flux” is a classic prog ’n’ roll song from Frehley, with lush acoustics and twin-leads. Fans might also notice the song’s doomy outro, which nods to “Black Diamond” on KISS’s 1974 debut.

Along with writing and recording new material, Ace has also been tirelessly hitting the road, playing festivals, as well as dates stateside and in Australia and Japan (including dates with the mighty Alice Cooper). As always, Ace is traveling at an altitude us mere mortals will never understand—a life lived to the fullest, and one that has defied... well, everything. That said, if you ever see the Space Ace in the cosmos, there’s only one proper reaction: “Hey look, it’s rock ’n’ roll!”

Classic rock hits from the original KISS guitarist and R&R Hall of Fame inductee. The success of Ace Frehley’s solo career, as both a recording artist and performer, has easily outpaced his KISS band mates.

His 2014 release Space Invader was the only post KISS solo album to crack the Top 10 on Billboard’s Top 200 albums chart, and his acclaimed 2011 autobiography No Regrets went on to become a New York Times best-seller.  Ace’s next album, Origins II, is set for a Fall 2020 release and will feature guests Robin Zander (Cheap Trick), Lita Ford, Bruce Kulick and John 5.  

With KISS on their farewell tour Ace is in the news just about every day - mentioned in every article referencing KISS as the original lead guitarist with most writers commenting that KISS is not the same without Ace.  

Here is what Rolling Stone had to say on the topic – Article 

Ace Frehley - Bio

Here are a few things you probably know about Ace Frehley: He’s the original lead guitarist for KISS (which he co-founded in 1973). He was also their best—his song-within-the-song guitar solos are as much a part of KISS as the band’s seven-inch platform boots. And he’s always been the coolest member of KISS—rock ’n’ roll swagger, laid-back, mysterious—just ask Tom Morello of Rage Against The Machine, or Naoko Yamano of Shonen Knife, or Abbath of Immortal. Hell, even people who don’t like KISS still love Ace.

What you may not know is that Ace Frehley has not been a member of KISS since 2002, when he left his second tenure with the band (there’s a “spaceman” currently playing leads for the band, but it ain’t Ace). In his time away from KISS (1983-1996, and 2002-present), Frehley has put together the most successful solo career of any member—current or former.

And Ace is on a roll. He’s ready to embark on his next musical journey with ​Spaceman,​ his third solo outing in four years. Of all Ace’s post-KISS recorded output, ​Spaceman​ might be the closest link to his widely acclaimed 1978 solo record, both in spirit and execution. First off, Frehley played all of the guitar parts on ​Spaceman​, as well as bass on all but two songs. Longtime drummer Anton Fig, whose friendship with Ace began in that 1978 record, also appears on “Off My Back” and “Pursuit of Rock and Roll” (longtime collaborators Scot Coogan and Matt Starr also play drums on ​Spaceman​).

There’s also a thematic, almost biographical, thread running through the album of a long life in rock ’n’ roll, although Ace admits it wasn’t intentional. The first single “Bronx Boy” lays out Ace’s pre-KISS roots, running wild with an Irish street gang called the Ducky Boys. It might be his grittiest song to date, with an opening riff that lashes out like a switchblade.

“Pursuit of Rock and Roll” ticks off a list of rockers that made Ace who he is, including Little Richard and the Stones. Frehley also makes it clear that rock is truly all he needs: “So sick of looking at reality TV / and like the Beatles said, you gotta ‘Let It Be.’”

Ace’s cover of Eddie Money’s “I Wanna Go Back” gives the song a ripping power pop makeover. It was chosen for the record by Ace himself. “I was laying in bed with Rachael (Gordon) watching YouTube videos, and that song came on. I told her I was gonna cover it. It’s about me.”

“No need to worry, I’ll be home soon, ’cause I’m rockin’ with the boys,” Frehley sings on “Rockin’ With the Boys,” which tells the tales of life on the road. Ace says he wrote the original version of the song back in KISS’s heyday in the ’70s—if you listen closely, it could almost be seen as a rockin’ counterpart to the Peter Criss-penned KISS classic “Beth.”

Speaking of KISS brethren, let’s get back to those two songs on Spaceman​ that Ace didn’t play bass on. One listen of opener “Without You I’m Nothing” should be a dead giveaway. That mighty dinosaur growl of a bass tone belongs to Gene Simmons, who co-wrote that song, along with “Your Wish Is My Command,” with the Space Ace at Frehley’s home studio in Rancho Santa Fe, California.

Ace recalls a relaxed three hours of hanging out, writing songs, and eating sandwiches with Simmons, who roomed with him back in the KISS daze. A lot of barbs have been thrown by both over the past couple of decades, but there’s still a mutual love for one another, made clear during Ace’s recent stints on Simmons’ Vault Experience.

His reconnection with Simmons and fellow KISS vocalist-guitarist Paul Stanley (who joined Ace on a cover of Free’s “Fire and Water” for 2016’s covers LP ​Origins, Vol. 1​) might be chalked up to the fact that Frehley has been sober for more than a decade (he celebrated 12 years of sobriety in September). Ace’s clean living no doubt has a lot to do with his productive streak, which began with the release of his top 20 Anomaly a​ lbum in 2009, his top 10 Space Invader LP in 2014 (a first forany​ KISS member); and continues with ​Spaceman​ (a title suggested by Gene himself).

Spaceman​ is a lean-and-mean nine tracks, and includes what has become a trademark for any Ace joint, a cosmic instrumental. “Quantum Flux” is a classic prog ’n’ roll song from Frehley, with lush acoustics and twin-leads. Fans might also notice the song’s doomy outro, which nods to “Black Diamond” on KISS’s 1974 debut.

Along with writing and recording new material, Ace has also been tirelessly hitting the road, playing festivals, as well as dates stateside and in Australia and Japan (including dates with the mighty Alice Cooper). As always, Ace is traveling at an altitude us mere mortals will never understand—a life lived to the fullest, and one that has defied... well, everything. That said, if you ever see the Space Ace in the cosmos, there’s only one proper reaction: “Hey look, it’s rock ’n’ roll!”

The Allman Betts Band includes Devon Allman & Duane Betts on guitars and vocals, Berry Oakley Jr. on bass, Johnny Stachela on slide guitar, John Ginty on Hammond B3 (Robert Randolph/Dixie Chicks) and Devon Allman Project percussionists R. Scott Bryan (Sheryl Crow) and John Lum.  The show features original music from their two recent BMG albums, songs from their solo projects as well as classic songs by The Allman Brothers Band, the legendary group founded by Devon and Duane’s fathers, Gregg Allman & Dickey Betts.

Their sophomore album, Bless Your Heart, was released on August 28, 2020.  Like their debut album, Bless Your Heart was recorded at the legendary Muscle Shoals Sound Studios and produced by Matt Ross-Spang (Jason Isbell, Margo Price, John Prine and Elvis Presley). 

"This is The Allman Betts Band's best offering yet, showcasing a band still tethered to their legacy but finding their own way with a sound that honors their roots without stepping all over them." - No Depression

The Allman Betts Band includes Devon Allman & Duane Betts on guitars and vocals, Berry Oakley Jr. on bass, Johnny Stachela on slide guitar, John Ginty on Hammond B3 (Robert Randolph/Dixie Chicks) and Devon Allman Project percussionists R. Scott Bryan (Sheryl Crow) and John Lum.  The show features original music from their two recent BMG albums, songs from their solo projects as well as classic songs by The Allman Brothers Band, the legendary group founded by Devon and Duane’s fathers, Gregg Allman & Dickey Betts.

Their sophomore album, Bless Your Heart, was released on August 28, 2020.  Like their debut album, Bless Your Heart was recorded at the legendary Muscle Shoals Sound Studios and produced by Matt Ross-Spang (Jason Isbell, Margo Price, John Prine and Elvis Presley). 

"This is The Allman Betts Band's best offering yet, showcasing a band still tethered to their legacy but finding their own way with a sound that honors their roots without stepping all over them." - No Depression

Play it again, Alice

In many cases, books become films. With Alice Francis everything is different…​​once again.  Because here films become music. For "Club Noir", the third album by the special trio, singer Alice Francis and her two musician gentlemen Goldie and Chul-Min let themselves be infected and inspired by her passion for classic Hollywood.

In her past Alice spent many Sundays watching black and white movies. With Hitchcock, Hawks and Wilder, the Romanian musician with Tanzanian roots was inspired by the film dramas of the time. The passion continues to this day. Alice has been musically successful as Alice Francis aka Miss Flapperty and has been performing live worldwide for years, including with Parov Stelar. In the historical series "Kadewe" by Julia von Heinz, she recently took on a role on screen and was also responsible for a contribution to the soundtrack. As part of the #zerowaste sustainability project she initiated, Alice Francis slipped into the guise of various strong women for a charitable PinArt calendar: Josephine Baker, Marilyn Monroe, Matta Hari to name a few…

In addition to her penchant for costumes and characters, it was above all the stories that fascinated Alice. Traces of this fascination can already be found on her debut album “St. James Ballroom" from 2012 as well as on the 2017 successor "Electric Shock". But with "Club Noir" Alice Francis and her two gentlemen take "story-telling with music" to a new level. As a kind of conductor, Goldie takes on  the main part of the musical responsibility. The tracks he arranges and produces are more than just the sounds between Alice Francis' lines. Just like in film, the main roles in music stand and fall with their staging. On "Club Noir" Goldie once again turns out to be one of the really great arrangers. Whether country ballad, doo-wop stomper or crime waltz - the multi-instrumentalist knows what sounds put the songs in an even better light. This time he also recorded many live instruments such as banjo, harp or theremin with studio musicians. The collaborations with the Bucharest Jazz Orchestra under the direction of Simona Srungaru are particularly impressive in this respect.

And so each of the 15 songs on “Club Noir” tells its very own story: about lust and love, about longing and failure, about cats and killers. These episodes are held together by no less classic interludes, which are accompanied by a narrator, like a radio play. That their titles are reminiscent of legendary things from the film noir era? As good as impossible. Any resemblance to "Angles with Dirty Faces", "Murder, my sweet" or "Crime without passion" must inevitably be a coincidence... This is how mental cinema works. And what's the name of the movie? It's a wrap!

Play it again, Alice

In many cases, books become films. With Alice Francis everything is different…​​once again.  Because here films become music. For "Club Noir", the third album by the special trio, singer Alice Francis and her two musician gentlemen Goldie and Chul-Min let themselves be infected and inspired by her passion for classic Hollywood.

In her past Alice spent many Sundays watching black and white movies. With Hitchcock, Hawks and Wilder, the Romanian musician with Tanzanian roots was inspired by the film dramas of the time. The passion continues to this day. Alice has been musically successful as Alice Francis aka Miss Flapperty and has been performing live worldwide for years, including with Parov Stelar. In the historical series "Kadewe" by Julia von Heinz, she recently took on a role on screen and was also responsible for a contribution to the soundtrack. As part of the #zerowaste sustainability project she initiated, Alice Francis slipped into the guise of various strong women for a charitable PinArt calendar: Josephine Baker, Marilyn Monroe, Matta Hari to name a few…

In addition to her penchant for costumes and characters, it was above all the stories that fascinated Alice. Traces of this fascination can already be found on her debut album “St. James Ballroom" from 2012 as well as on the 2017 successor "Electric Shock". But with "Club Noir" Alice Francis and her two gentlemen take "story-telling with music" to a new level. As a kind of conductor, Goldie takes on  the main part of the musical responsibility. The tracks he arranges and produces are more than just the sounds between Alice Francis' lines. Just like in film, the main roles in music stand and fall with their staging. On "Club Noir" Goldie once again turns out to be one of the really great arrangers. Whether country ballad, doo-wop stomper or crime waltz - the multi-instrumentalist knows what sounds put the songs in an even better light. This time he also recorded many live instruments such as banjo, harp or theremin with studio musicians. The collaborations with the Bucharest Jazz Orchestra under the direction of Simona Srungaru are particularly impressive in this respect.

And so each of the 15 songs on “Club Noir” tells its very own story: about lust and love, about longing and failure, about cats and killers. These episodes are held together by no less classic interludes, which are accompanied by a narrator, like a radio play. That their titles are reminiscent of legendary things from the film noir era? As good as impossible. Any resemblance to "Angles with Dirty Faces", "Murder, my sweet" or "Crime without passion" must inevitably be a coincidence... This is how mental cinema works. And what's the name of the movie? It's a wrap!

The Allman Family Revival

On December 8, 2017, Devon Allman invited a couple dozen of his closest musical compadres onto the hallowed stage of The Fillmore to perform a three-hour, multi-set monster of a concert for the sold-out crowd that filled the historic San Francisco venue in tribute to Allman’s late father, Gregg.  The date was bittersweet; what would’ve been Gregg’s 70th birthday.  For Allman, in a year when the award-winning musician lost both parents within a few months of each other, what started as a simple idea of music as medicine had given birth to The Allman Family Revival: a happy and healing cosmic experience celebrating the life, spirit, and indelible musical legacy of Gregg Allman.

The format for this ambitious undertaking, Allman says, was inspired by one of rock’s most famous concerts (and film).  “I had recently re-fallen in love with The Band’s The Last Waltz and thought that would be perfect: let our band come out and serve as the appetizer; then one-by-one welcome our special guests; have them do a song they are known for and also do an Allman-centric song.”

Year one, the newly-formed Devon Allman Project with Duane Betts indeed welcomed a slew of heavyweights to the tribute: G. Love; Robert Randolph; Luther and Cody Dickinson; Alex Orbison; and Samantha Fish, to name a few.  In 2018, The Allman Betts Band acted as the Revival’s house band, adding wunderkind Marcus King to the already-impressive guest list for another sold-out affair at The Fillmore.  By 2019, Allman extended the scope of the now-annual event, and the invites (including Cheap Trick’s legendary singer, Robin Zander), slating Allman Family Revival shows in San Francisco, Denver’s Mission Ballroom, and New York City’s Beacon Theatre.  In 2020, the global pandemic forced Allman to pivot to a February 2021 date, adapting the Revival to a single, socially-distanced performance at Nashville’s famed Ryman Auditorium and included Jimmy Hall (Wet Willie) and JD Simo among the now-familiar faces of Allman’s ever-expanding musical family.

“I like having artists that knew Dad, played with him, maybe were an opening act, or were really influenced and inspired by him,” Allman says.  “As for a venue, I prefer those turn-of-the-century to mid-20th century, old-school theatres. They are just gorgeous inside, sculpted for sound, and provide the perfect location for these very special shows.  I love for this concert to feel like a night at the theatre for our audience.”

Once envisioned as a single celebration in San Francisco, the Allman Family Revival, in its sixth year, it will again be a full-fledged, coast-to-coast tour.  As curator, host, and performer, Allman remains true to the painstaking mission of providing an epic event worthy of its inspiration.   “I really enjoy working with the guests individually on setlists to make each show a very special night.  It’s a daunting task, for sure, but a labor of love every time.”

The 2021 coast to coast Revival Tour was a one for the ages.  It included eighteen shows and debut appearances by Ivan Neville, George Porter, Kenny Aronoff, Kenny Wayne Shepherd and Karl Denson to name a few but was admittedly and understandably a complicated adventure as waves of Covid were still reeking havoc on the live music business.

Among the marquee names scheduled for 2022’s Revival are The Devon Allman Project, Duane Betts, Donavon Frankenreiter, Maggie Rose, Jimmy Hall, Larry McCray, Alex Orbison and The River Kittens, plus, of course, more surprises to come.                                                                                                                 

“My favorite part is just the joy of the audience.  I can tell they are touched and getting every penny’s worth,” Allman says.  “Knowing Dad is looking down saying, ‘Damn, son, all that hot jammin’ for me?!’ I know he’s tickled that we celebrate him.  Because none of us has to do this.  We all have busy careers.  This is a ‘want to’ situation; absolutely, 100% about music and celebration and tribute.”   

The Allman Family Revival

On December 8, 2017, Devon Allman invited a couple dozen of his closest musical compadres onto the hallowed stage of The Fillmore to perform a three-hour, multi-set monster of a concert for the sold-out crowd that filled the historic San Francisco venue in tribute to Allman’s late father, Gregg.  The date was bittersweet; what would’ve been Gregg’s 70th birthday.  For Allman, in a year when the award-winning musician lost both parents within a few months of each other, what started as a simple idea of music as medicine had given birth to The Allman Family Revival: a happy and healing cosmic experience celebrating the life, spirit, and indelible musical legacy of Gregg Allman.

The format for this ambitious undertaking, Allman says, was inspired by one of rock’s most famous concerts (and film).  “I had recently re-fallen in love with The Band’s The Last Waltz and thought that would be perfect: let our band come out and serve as the appetizer; then one-by-one welcome our special guests; have them do a song they are known for and also do an Allman-centric song.”

Year one, the newly-formed Devon Allman Project with Duane Betts indeed welcomed a slew of heavyweights to the tribute: G. Love; Robert Randolph; Luther and Cody Dickinson; Alex Orbison; and Samantha Fish, to name a few.  In 2018, The Allman Betts Band acted as the Revival’s house band, adding wunderkind Marcus King to the already-impressive guest list for another sold-out affair at The Fillmore.  By 2019, Allman extended the scope of the now-annual event, and the invites (including Cheap Trick’s legendary singer, Robin Zander), slating Allman Family Revival shows in San Francisco, Denver’s Mission Ballroom, and New York City’s Beacon Theatre.  In 2020, the global pandemic forced Allman to pivot to a February 2021 date, adapting the Revival to a single, socially-distanced performance at Nashville’s famed Ryman Auditorium and included Jimmy Hall (Wet Willie) and JD Simo among the now-familiar faces of Allman’s ever-expanding musical family.

“I like having artists that knew Dad, played with him, maybe were an opening act, or were really influenced and inspired by him,” Allman says.  “As for a venue, I prefer those turn-of-the-century to mid-20th century, old-school theatres. They are just gorgeous inside, sculpted for sound, and provide the perfect location for these very special shows.  I love for this concert to feel like a night at the theatre for our audience.”

Once envisioned as a single celebration in San Francisco, the Allman Family Revival, in its sixth year, it will again be a full-fledged, coast-to-coast tour.  As curator, host, and performer, Allman remains true to the painstaking mission of providing an epic event worthy of its inspiration.   “I really enjoy working with the guests individually on setlists to make each show a very special night.  It’s a daunting task, for sure, but a labor of love every time.”

The 2021 coast to coast Revival Tour was a one for the ages.  It included eighteen shows and debut appearances by Ivan Neville, George Porter, Kenny Aronoff, Kenny Wayne Shepherd and Karl Denson to name a few but was admittedly and understandably a complicated adventure as waves of Covid were still reeking havoc on the live music business.

Among the marquee names scheduled for 2022’s Revival are The Devon Allman Project, Duane Betts, Donavon Frankenreiter, Maggie Rose, Jimmy Hall, Larry McCray, Alex Orbison and The River Kittens, plus, of course, more surprises to come.                                                                                                                 

“My favorite part is just the joy of the audience.  I can tell they are touched and getting every penny’s worth,” Allman says.  “Knowing Dad is looking down saying, ‘Damn, son, all that hot jammin’ for me?!’ I know he’s tickled that we celebrate him.  Because none of us has to do this.  We all have busy careers.  This is a ‘want to’ situation; absolutely, 100% about music and celebration and tribute.”   

Nine albums in thirteen years, all albums have attained gold and platinum status, and have been in the Top 5 of the German Album-Charts.

The latest two albums in a row hit #1 in the German Charts. And “Dos Bros” sold over 300.000 copies. Winners of the ECHO award for Best National Band in the catargory Rock/Pop.

The BossHoss are one of Germany’s top live acts and have played more than 1,500 live shows since 2005 in 23 different countries. 300,000 concert-goers per year. Playing to arenas with a capacity of 10,000 upwards. Festivals like Rock am Ring/Park(G) Download (UK) Donauinselfest(A) Gurten(CH) Szigit (HUN) Woodstock (PL). The BossHoss have a huge and loyal fan following.

Massive presence and popularity in mainstream television. Three series as coaches on „The Voice of Germany“ Pro7 (4m viewers per show). 2016 & 2017 Guests and one time hosts of Germany’s most lauded music program „Sing Meinen Song“ Vox (2m viewers per show). Double award winners „Goldene Kamera“ and also „Deutscher Filmpreis“.

Nine albums in thirteen years, all albums have attained gold and platinum status, and have been in the Top 5 of the German Album-Charts.

The latest two albums in a row hit #1 in the German Charts. And “Dos Bros” sold over 300.000 copies. Winners of the ECHO award for Best National Band in the catargory Rock/Pop.

The BossHoss are one of Germany’s top live acts and have played more than 1,500 live shows since 2005 in 23 different countries. 300,000 concert-goers per year. Playing to arenas with a capacity of 10,000 upwards. Festivals like Rock am Ring/Park(G) Download (UK) Donauinselfest(A) Gurten(CH) Szigit (HUN) Woodstock (PL). The BossHoss have a huge and loyal fan following.

Massive presence and popularity in mainstream television. Three series as coaches on „The Voice of Germany“ Pro7 (4m viewers per show). 2016 & 2017 Guests and one time hosts of Germany’s most lauded music program „Sing Meinen Song“ Vox (2m viewers per show). Double award winners „Goldene Kamera“ and also „Deutscher Filmpreis“.

BIOGRAPHY

In an era where pedalboards, laptops and samples have become commonplace, Eric Steckel goes against the grain and harkens his listeners back to the days when great guitars were played loudly through great amps. Hailed by many as the top rising star of Blues/Rock, Eric delivers a powerhouse performance that has left audiences in 25 countries (and counting) mesmerized. He brings an energy and passion to the stage that never disappoints and is a must see for fans of vintage guitar rock.

Few young guitarists can improve on Eric Steckel's impressive resume. Eric's debut CD, "A Few Degrees Warmer", was recorded live in April 2002 when he was just 11 years old. It wasn’t long until he appeared at the 2003 Sarasota Blues Festival where Eric's powerful set became the talk of the day. Before the night was over Eric was introduced by British Blues/Rock legend, John Mayall as the youngest guitarist ever on stage with the Bluesbreakers. Eric left a lasting impression on Mayall and, in 2004 Mayall invited Eric to appear in Sweden, Norway and Denmark during The Bluesbreakers’ Scandinavian Tour. In early 2005, Eric traveled to Los Angeles where he joined Mayall for session work on the "Road Dogs" record.

Eric then spent the following years filled with marquee festival dates and sold out concert tours in Holland, Germany, Belgium and Italy. He opened for Johnny Winter at The Paradiso in Amsterdam, thrilled audiences at the Tegelen Bluesrock Festival and shared the prime-time bill with Gregg Allman at the legendary Pistoia Blues Festival.

Throughout his teens and young adulthood, Eric released several critically acclaimed live and studio albums. 2006's "Havana" was a hit among Blues guitar lovers and tracks from this album are still featured often on SiriusXM's Bluesville station. 2008's "Feels Like Home" featured the talented Duane Trucks on drums and recalled the 70's southern rock era. Hits from this album such as "The Ghetto" and "Just Walk Away" receive regular airplay to this day. In 2012, after years on the road, Eric entered the studio once again to record a powerful modern Blues record. "Dismantle The Sun" emerged. In 2015, Eric embarked on a quest to record a fully transatlantic studio album with some of the finest producers, engineers and musicians he knew. This led to "Black Gold" being recorded in both Nashville, Tennessee and Amsterdam, Netherlands. Eric's current album "Polyphonic Prayer" is his most successful album to date and features Eric on every instrument besides the drums.

Road-tested and seasoned from 20+ years on stage and in the studio, Eric delivers his signature blend of Bluesmetal worldwide to appreciative guitar lovers in 25 countries and counting.

Eric has been featured in Top Guitar Magazine, Guitar World Magazine, Classic Rock Magazine, Blues Rock Review Magazine, Maxazine, Nightwatcher's House of Rock, The Allentown (PA) Morning Call, The Doylestown (PA) Intelligencer, The Philadelphia Inquirer, The (NY) Times-Herald Record, Music Head Magazine, The Warren (NJ) Reporter Forum, The Easton (PA) Express, The Bridgewater (NJ) Courier Times, The Sarasota (FL) Herald-Tribune, the Lancaster (PA) Sunday News and The Florida Times Union. International press includes features in the Haagshe Courant, De Telegraaph, BluesMagazine (NL) and a MusikMaker (NL) feature. Eric was also featured in a Comcast CN8 TV News Extra and he has appeared on NBC 10 in Philadelphia, Comcast CN8, Fox Philadelphia, SNN6 in Sarasota and Reuters TV.

BIOGRAPHY

In an era where pedalboards, laptops and samples have become commonplace, Eric Steckel goes against the grain and harkens his listeners back to the days when great guitars were played loudly through great amps. Hailed by many as the top rising star of Blues/Rock, Eric delivers a powerhouse performance that has left audiences in 25 countries (and counting) mesmerized. He brings an energy and passion to the stage that never disappoints and is a must see for fans of vintage guitar rock.

Few young guitarists can improve on Eric Steckel's impressive resume. Eric's debut CD, "A Few Degrees Warmer", was recorded live in April 2002 when he was just 11 years old. It wasn’t long until he appeared at the 2003 Sarasota Blues Festival where Eric's powerful set became the talk of the day. Before the night was over Eric was introduced by British Blues/Rock legend, John Mayall as the youngest guitarist ever on stage with the Bluesbreakers. Eric left a lasting impression on Mayall and, in 2004 Mayall invited Eric to appear in Sweden, Norway and Denmark during The Bluesbreakers’ Scandinavian Tour. In early 2005, Eric traveled to Los Angeles where he joined Mayall for session work on the "Road Dogs" record.

Eric then spent the following years filled with marquee festival dates and sold out concert tours in Holland, Germany, Belgium and Italy. He opened for Johnny Winter at The Paradiso in Amsterdam, thrilled audiences at the Tegelen Bluesrock Festival and shared the prime-time bill with Gregg Allman at the legendary Pistoia Blues Festival.

Throughout his teens and young adulthood, Eric released several critically acclaimed live and studio albums. 2006's "Havana" was a hit among Blues guitar lovers and tracks from this album are still featured often on SiriusXM's Bluesville station. 2008's "Feels Like Home" featured the talented Duane Trucks on drums and recalled the 70's southern rock era. Hits from this album such as "The Ghetto" and "Just Walk Away" receive regular airplay to this day. In 2012, after years on the road, Eric entered the studio once again to record a powerful modern Blues record. "Dismantle The Sun" emerged. In 2015, Eric embarked on a quest to record a fully transatlantic studio album with some of the finest producers, engineers and musicians he knew. This led to "Black Gold" being recorded in both Nashville, Tennessee and Amsterdam, Netherlands. Eric's current album "Polyphonic Prayer" is his most successful album to date and features Eric on every instrument besides the drums.

Road-tested and seasoned from 20+ years on stage and in the studio, Eric delivers his signature blend of Bluesmetal worldwide to appreciative guitar lovers in 25 countries and counting.

Eric has been featured in Top Guitar Magazine, Guitar World Magazine, Classic Rock Magazine, Blues Rock Review Magazine, Maxazine, Nightwatcher's House of Rock, The Allentown (PA) Morning Call, The Doylestown (PA) Intelligencer, The Philadelphia Inquirer, The (NY) Times-Herald Record, Music Head Magazine, The Warren (NJ) Reporter Forum, The Easton (PA) Express, The Bridgewater (NJ) Courier Times, The Sarasota (FL) Herald-Tribune, the Lancaster (PA) Sunday News and The Florida Times Union. International press includes features in the Haagshe Courant, De Telegraaph, BluesMagazine (NL) and a MusikMaker (NL) feature. Eric was also featured in a Comcast CN8 TV News Extra and he has appeared on NBC 10 in Philadelphia, Comcast CN8, Fox Philadelphia, SNN6 in Sarasota and Reuters TV.

JD Simo’s talent has no boundaries.  His love of music is just that - a love of ALL music - and he has mastered every genre he’s explored.  His remarkable talent and versatility has led to recording sessions with artists including  Beyoncé, Dolly Parton, Tommy Emmanuel, Jack White, Joe Bonamassa, The War and Treaty, Chris Isaak and Stevie Nicks.   He’s also been blessed to share the stage with folks like the Grateful Dead’s Phil Lesh and collaborate with BlackBerry Smoke, Luther Dickinson and Anson Funderburgh. As a further testament to the depth of his talent, the world of film came calling when JD was chosen to flesh out and perform every single guitar note on the soundtrack to  Baz Lurhman’s film “Elvis”.
 
Like many artists and creators during the COVID shutdown, JD found a liberating outlet through social media, releasing a relentless treasure of exploratory jams from “The House of Grease” . With each installment he reached a growing audience of roots music fans as well as guitar gearheads wanting the latest on that JD Simo rig rundown.  While this tour will feature songs from his recently released album, Songs From the House of Grease, fans will also be rewarded as Simo digs deep into the inspiration he has found in everything from Afrobeat to Maxwell Street era Chicago Blues, from soulful funk jams to psyched out jazz-rock.  Come early, stay late…the show will show will be presented in two sets.

JD Simo’s talent has no boundaries.  His love of music is just that - a love of ALL music - and he has mastered every genre he’s explored.  His remarkable talent and versatility has led to recording sessions with artists including  Beyoncé, Dolly Parton, Tommy Emmanuel, Jack White, Joe Bonamassa, The War and Treaty, Chris Isaak and Stevie Nicks.   He’s also been blessed to share the stage with folks like the Grateful Dead’s Phil Lesh and collaborate with BlackBerry Smoke, Luther Dickinson and Anson Funderburgh. As a further testament to the depth of his talent, the world of film came calling when JD was chosen to flesh out and perform every single guitar note on the soundtrack to  Baz Lurhman’s film “Elvis”.
 
Like many artists and creators during the COVID shutdown, JD found a liberating outlet through social media, releasing a relentless treasure of exploratory jams from “The House of Grease” . With each installment he reached a growing audience of roots music fans as well as guitar gearheads wanting the latest on that JD Simo rig rundown.  While this tour will feature songs from his recently released album, Songs From the House of Grease, fans will also be rewarded as Simo digs deep into the inspiration he has found in everything from Afrobeat to Maxwell Street era Chicago Blues, from soulful funk jams to psyched out jazz-rock.  Come early, stay late…the show will show will be presented in two sets.

Legendary YES vocalist/songwriter Jon Anderson will be playing select shows with The
Paul Green Rock Academy in Summer 2023! Jon and the ensemble will be celebrating
the 51 st Anniversary of the release of YES' classic album “Close to the Edge” by
performing the album in its entirety, along with other classics and surprises! After a
wildly successful 50 th Anniversary US tour last summer, we are bringing the show to
Europe!

This Jon Anderson with The Paul Green Rock Academy tour is a resumption of the
tradition started in 2005 when Jon toured with Paul Green's original School of Rock all
stars.
These early shows, over 30 in total between 2006-2008, were nothing short of magical,
and now Jon Anderson returns to continue that magic with a set of Yes Classics, deep
cuts, mash ups, and solo works, all with lush arrangements featuring choral singing,
horns, and all the other benefits of having a backing band with 25 young musicians.
Says Paul Green, “Having done a few of these songs in the past with Jon and my
students, I couldn’t wait to add them to the current show. Once we did "Close to the
Edge" and "And You and I" on our Florida run in April, I was reminded of the magic of
hearing these songs recreated by young musicians…They really capture the frenetic
energy of the original recordings. Then when I heard it was the 50th anniversary of the
album I just knew we had to do the whole thing. Jon agreed.”

Legendary YES vocalist/songwriter Jon Anderson will be playing select shows with The
Paul Green Rock Academy in Summer 2023! Jon and the ensemble will be celebrating
the 51 st Anniversary of the release of YES' classic album “Close to the Edge” by
performing the album in its entirety, along with other classics and surprises! After a
wildly successful 50 th Anniversary US tour last summer, we are bringing the show to
Europe!

This Jon Anderson with The Paul Green Rock Academy tour is a resumption of the
tradition started in 2005 when Jon toured with Paul Green's original School of Rock all
stars.
These early shows, over 30 in total between 2006-2008, were nothing short of magical,
and now Jon Anderson returns to continue that magic with a set of Yes Classics, deep
cuts, mash ups, and solo works, all with lush arrangements featuring choral singing,
horns, and all the other benefits of having a backing band with 25 young musicians.
Says Paul Green, “Having done a few of these songs in the past with Jon and my
students, I couldn’t wait to add them to the current show. Once we did "Close to the
Edge" and "And You and I" on our Florida run in April, I was reminded of the magic of
hearing these songs recreated by young musicians…They really capture the frenetic
energy of the original recordings. Then when I heard it was the 50th anniversary of the
album I just knew we had to do the whole thing. Jon agreed.”

Kyle Gass of Tenacious D is finally back on tour in October! After a one-year "vacci-cation" on his Californian farm, posting tons of fun videos on his social channels while waiting for his shot, Kyle Gass of Tenacious D did what he does best: Killing time by writing great songs. When he finally got the call, Kyle got really, really nervous which resulted in the new single release of "Vaccinated" - a parody of the Ramones classic "I Wanna Be Sedated" with a video featuring longtime friends like Jack Black, Amy Lee, John C Reilly, Steve Lukather, and many others. 

Not only because of the incredibly great response to the "Vaccinated" release, but rather because he was tired of drinking home-squeezed orange juice all day, Kyle went for it again. He knew the time was as ripe as the fruits on his citrus trees for the world needs to be saved with his super rock power. So, he rounded up the most virtuosic musicians in California to put on a rock show the world has never seen. Kyle and his band of bros will blow the thick layers of dust off your ears like a rock ‘n’ roll hurricane you have never experienced before. 

The couch apocalypse is over, it’s the beginning of a new era: The Kyle Gass Must Save The World Tour 2021 is on. You’re welcome. 

Kyle Gass of Tenacious D is finally back on tour in October! After a one-year "vacci-cation" on his Californian farm, posting tons of fun videos on his social channels while waiting for his shot, Kyle Gass of Tenacious D did what he does best: Killing time by writing great songs. When he finally got the call, Kyle got really, really nervous which resulted in the new single release of "Vaccinated" - a parody of the Ramones classic "I Wanna Be Sedated" with a video featuring longtime friends like Jack Black, Amy Lee, John C Reilly, Steve Lukather, and many others. 

Not only because of the incredibly great response to the "Vaccinated" release, but rather because he was tired of drinking home-squeezed orange juice all day, Kyle went for it again. He knew the time was as ripe as the fruits on his citrus trees for the world needs to be saved with his super rock power. So, he rounded up the most virtuosic musicians in California to put on a rock show the world has never seen. Kyle and his band of bros will blow the thick layers of dust off your ears like a rock ‘n’ roll hurricane you have never experienced before. 

The couch apocalypse is over, it’s the beginning of a new era: The Kyle Gass Must Save The World Tour 2021 is on. You’re welcome. 

What does KG do when he’s not playing with the Greatest Band in the World? He assembles an otherworldly super-team of badass dudes to back him up in his own project, The Kyle Gass Band. Along with The D’s longtime electric guitarist, John Konesky, resident Sasquatch and guitarist/vocalist, Mike Bray, mythical bass legend, „Uncle Jazz“ and percussion genius/international heart-throb Tim Spier, the rollicking gentlemanly ensemble traverses hill and dale to bring earth-shattering rock and roll to the wanting 100’s. If you’re lucky enough to catch this man-herd on the road, you’ll surely count it as one of your finest living days. If you’re less lucky (but still quite fortunate) to have only cast ears on the debut recording, then consider yourself nothing short of pregnant. 2 years off-and-on, and in between Tenacious D mega-tours, the accomplished men honed their sound and forged a master-work only craft-able by the deepest knowledge of a master.
Men, women, children, domesticated house pets, earth roaming wild mammals, sea-dwelling creatures of the deep, insects, species yet unknown, gods and leaders, universal truths, and earthly lies; all lay wanting in subjugation to the new interstellar constant that is the Kyle Gass Band. Get the record today, throw on some headphones, and take the journey, friends, for you have something the band can never have… The ability to listen, with child-like wonder, to the magic of song, while having no earthly clue how to create such brilliance… Such is the albatross of genius.. Such are the chains of unparalleled skill… Such is the KGB.

What does KG do when he’s not playing with the Greatest Band in the World? He assembles an otherworldly super-team of badass dudes to back him up in his own project, The Kyle Gass Band. Along with The D’s longtime electric guitarist, John Konesky, resident Sasquatch and guitarist/vocalist, Mike Bray, mythical bass legend, „Uncle Jazz“ and percussion genius/international heart-throb Tim Spier, the rollicking gentlemanly ensemble traverses hill and dale to bring earth-shattering rock and roll to the wanting 100’s. If you’re lucky enough to catch this man-herd on the road, you’ll surely count it as one of your finest living days. If you’re less lucky (but still quite fortunate) to have only cast ears on the debut recording, then consider yourself nothing short of pregnant. 2 years off-and-on, and in between Tenacious D mega-tours, the accomplished men honed their sound and forged a master-work only craft-able by the deepest knowledge of a master.
Men, women, children, domesticated house pets, earth roaming wild mammals, sea-dwelling creatures of the deep, insects, species yet unknown, gods and leaders, universal truths, and earthly lies; all lay wanting in subjugation to the new interstellar constant that is the Kyle Gass Band. Get the record today, throw on some headphones, and take the journey, friends, for you have something the band can never have… The ability to listen, with child-like wonder, to the magic of song, while having no earthly clue how to create such brilliance… Such is the albatross of genius.. Such are the chains of unparalleled skill… Such is the KGB.

The L.A. Maybe is a 5-piece rock n' roll band hailing from the southern heat of the Carolinas. If you’re a fan of Guns N' Roses, AC/DC, or Van Halen…you will feel right at home adding LAM to your record collection.

Having toured internationally to rock fans all over the world, The L.A. Maybe firmly plants its feet at the very forefront of the New Wave of Classic Rock movement and you’re sure to have at least one of their choruses stuck in your head at any given moment.

Drawing influence from nearly every style of music, The L.A. Maybe put on an electrifying live show and stand for everything you love about rock music, old and new. 

The L.A. Maybe is a 5-piece rock n' roll band hailing from the southern heat of the Carolinas. If you’re a fan of Guns N' Roses, AC/DC, or Van Halen…you will feel right at home adding LAM to your record collection.

Having toured internationally to rock fans all over the world, The L.A. Maybe firmly plants its feet at the very forefront of the New Wave of Classic Rock movement and you’re sure to have at least one of their choruses stuck in your head at any given moment.

Drawing influence from nearly every style of music, The L.A. Maybe put on an electrifying live show and stand for everything you love about rock music, old and new. 

Moon Shot is a true 21st century rock band. Its four guys have gigs galore under their belts from around the world as members of Disco Ensemble, Children of Bodom and Lapko. Now they’re on a roll again, together for the first time. Moon Shot is a big bang to a new planet of sound.

The guys launched on a path that spanned thousands of gigs in hundreds of countries in the ranks of Disco Ensemble, Children of Bodom and Lapko. Crusading through most continents, if not quite the seven seas, has given Jussi, Ville, Henkka and Mikko sureness of performance and musical vision for melodies that cure maladies. Because isn’t that what rock at its truest is all about: raging to love?

What do you do after your life’s work?

Call it quits? Take a break before a comeback?

No. You start again. You seek out others with the same dedication to musicianship. Others who have learned from experience how to make a rockband really tick. And you use what’s a little different now to take the shortcut to the runway and takeoff beyond Earthly pleasures.

Shoot from the hip to the moon.

If you still have the spark, that is. And these four men truly do.

The Moon Shot foursome has turned back with more maturity to rediscover what they’ve always loved.

 “WE’VE GONE BACK TO WHAT REALLY TURNED US ONTO MUSIC WHEN WE WERE IN OUR TEENS AND TWENTIES. THAT’S THE MUSIC THAT NEVER LEAVES YOU,” says guitarist Jussi Ylikoski, who got Moon Shot started with his demos – the guy with Disco Ensemble in his past.

“AFTER A WHILE OF RUNNING AROUND AND LOOKING FOR THE NEXT GREAT THING, I JUST STARTED LOOKING AT WHAT I REALLY LISTEN TO. AND IT’S THE GUITAR-BASED, VOCAL-DRIVEN ROCK’N’ROLL I LOVED 10-20 YEARS AGO,”
adds vocalist Ville Malja, known until now as a driving force in Lapko.

Moon Shot is a true 21st century rock band. Its four guys have gigs galore under their belts from around the world as members of Disco Ensemble, Children of Bodom and Lapko. Now they’re on a roll again, together for the first time. Moon Shot is a big bang to a new planet of sound.

The guys launched on a path that spanned thousands of gigs in hundreds of countries in the ranks of Disco Ensemble, Children of Bodom and Lapko. Crusading through most continents, if not quite the seven seas, has given Jussi, Ville, Henkka and Mikko sureness of performance and musical vision for melodies that cure maladies. Because isn’t that what rock at its truest is all about: raging to love?

What do you do after your life’s work?

Call it quits? Take a break before a comeback?

No. You start again. You seek out others with the same dedication to musicianship. Others who have learned from experience how to make a rockband really tick. And you use what’s a little different now to take the shortcut to the runway and takeoff beyond Earthly pleasures.

Shoot from the hip to the moon.

If you still have the spark, that is. And these four men truly do.

The Moon Shot foursome has turned back with more maturity to rediscover what they’ve always loved.

 “WE’VE GONE BACK TO WHAT REALLY TURNED US ONTO MUSIC WHEN WE WERE IN OUR TEENS AND TWENTIES. THAT’S THE MUSIC THAT NEVER LEAVES YOU,” says guitarist Jussi Ylikoski, who got Moon Shot started with his demos – the guy with Disco Ensemble in his past.

“AFTER A WHILE OF RUNNING AROUND AND LOOKING FOR THE NEXT GREAT THING, I JUST STARTED LOOKING AT WHAT I REALLY LISTEN TO. AND IT’S THE GUITAR-BASED, VOCAL-DRIVEN ROCK’N’ROLL I LOVED 10-20 YEARS AGO,”
adds vocalist Ville Malja, known until now as a driving force in Lapko.

“Mind-bending, colourful and trippy psyched-out jams” - Rolling Stone

The forthcoming fifth album by the international phenomenon that is Mother’s Cake sees the psych-rock trio present itself in suitably appropriate fashion: sky high, far out yet still very much down to earth. In preparation for over a year and recorded during a series of sleep-deprived three day sessions, the group concentrate on the essentials on the ten new songs that comprise ‘Cyberfunk!’, bundling their raw live energy into a dynamically dense release that sounds like vintage madness of the best possible kind and fits the moment in perfect fashion.

Despite what its title might suggest, ‘Cyberfunk!’ was created in a more or less classic manner, with the three musicians performing together in one room, just the way it should be, with a minimum of overdubs resulting in a genuine band sound that is almost distilled to its essence, with the voice of singer/guitarist Yves Krismer standing out even more than on the band’s previous recordings.

The career trajectory of Mother’s Cake’s has seen them play hundreds of concerts from Manchester to Melbourne and Mumbai, including shows with Wolfmother, Iggy & The Stooges, Omar Rodriguez-López, Alice In Chains and Limp Bizkit. They have also released three successful studio albums plus a near-megalomaniacal (in the best possuble sense) ‘Live at Pompeii’-style live set recorded on the ski jump in Bergisel, Austria in 2018. “Over the past year, we have created a pool of new song ideas, just like we used to do when the first songs were created twelve years ago while jamming in the rehearsal room,” explains drummer Jan Haussels.“Yves was then able to cherry-pick and finalise two or three songs for the later recordings. But, it was always intended that new songs could be added at short notice. For Benni [bass player Benedikt Trenkwalder] and myself, what we were recording was often spontaneous, which has the added benefit of more of a snapshot feel and less highbrow ideas.” Having said this, the recording sound had to be just so and even to find the right tempo for a Mother’s Cake song can take several takes. “We listen to them and decide on a case-by-case basis – usually the ones we put on the album are the ones we play at ease because we think: ‘that’s a wrap’, continues Haussels.

The production of the album was a collaboration in the best sense of the word, with Raphael Neikes and Manuel Renner from Studio Ueberlärm in Mannheim, Germany and Krismer playing key roles. Together they spun and spanned the tension of ‘Cyberfunk!’ – from the psychedelic ‘Crystals In The Sky’, with its half-time verses, heavenly harmony choruses, devilish riffs and a horizon full of delay, to the intense ‘Toxic Brother’, the appropriately titled ‘The Beetle’ (a potential favourite song of Paul McCartney’s rocking soul brother circa 1969, perhaps), plus the deep swamp groove of ‘Love Your Smell’, the dramatic ode to ‘Gloria’ (not a cover?) and the new wave funk rock of ‘Hit On Ur Girl’, which unwinds into a sweet folk song towards its conclusion. “The flow of the album has come about in the process of making it,” state the band. “However, after some of the songs were finished, it was a very conscious decision as to which belonged where. Yves thinks very carefully about this and likes to create surprises from song to song, so some were deliberately written in one direction to fit the appropriate spot.” The end result is ‘Cyberfunk!’, in the best sense of the word….exactly the rock album Mother’s Cake had to record at this point in their career – and one that we need to hear right now.

“Mind-bending, colourful and trippy psyched-out jams” - Rolling Stone

The forthcoming fifth album by the international phenomenon that is Mother’s Cake sees the psych-rock trio present itself in suitably appropriate fashion: sky high, far out yet still very much down to earth. In preparation for over a year and recorded during a series of sleep-deprived three day sessions, the group concentrate on the essentials on the ten new songs that comprise ‘Cyberfunk!’, bundling their raw live energy into a dynamically dense release that sounds like vintage madness of the best possible kind and fits the moment in perfect fashion.

Despite what its title might suggest, ‘Cyberfunk!’ was created in a more or less classic manner, with the three musicians performing together in one room, just the way it should be, with a minimum of overdubs resulting in a genuine band sound that is almost distilled to its essence, with the voice of singer/guitarist Yves Krismer standing out even more than on the band’s previous recordings.

The career trajectory of Mother’s Cake’s has seen them play hundreds of concerts from Manchester to Melbourne and Mumbai, including shows with Wolfmother, Iggy & The Stooges, Omar Rodriguez-López, Alice In Chains and Limp Bizkit. They have also released three successful studio albums plus a near-megalomaniacal (in the best possuble sense) ‘Live at Pompeii’-style live set recorded on the ski jump in Bergisel, Austria in 2018. “Over the past year, we have created a pool of new song ideas, just like we used to do when the first songs were created twelve years ago while jamming in the rehearsal room,” explains drummer Jan Haussels.“Yves was then able to cherry-pick and finalise two or three songs for the later recordings. But, it was always intended that new songs could be added at short notice. For Benni [bass player Benedikt Trenkwalder] and myself, what we were recording was often spontaneous, which has the added benefit of more of a snapshot feel and less highbrow ideas.” Having said this, the recording sound had to be just so and even to find the right tempo for a Mother’s Cake song can take several takes. “We listen to them and decide on a case-by-case basis – usually the ones we put on the album are the ones we play at ease because we think: ‘that’s a wrap’, continues Haussels.

The production of the album was a collaboration in the best sense of the word, with Raphael Neikes and Manuel Renner from Studio Ueberlärm in Mannheim, Germany and Krismer playing key roles. Together they spun and spanned the tension of ‘Cyberfunk!’ – from the psychedelic ‘Crystals In The Sky’, with its half-time verses, heavenly harmony choruses, devilish riffs and a horizon full of delay, to the intense ‘Toxic Brother’, the appropriately titled ‘The Beetle’ (a potential favourite song of Paul McCartney’s rocking soul brother circa 1969, perhaps), plus the deep swamp groove of ‘Love Your Smell’, the dramatic ode to ‘Gloria’ (not a cover?) and the new wave funk rock of ‘Hit On Ur Girl’, which unwinds into a sweet folk song towards its conclusion. “The flow of the album has come about in the process of making it,” state the band. “However, after some of the songs were finished, it was a very conscious decision as to which belonged where. Yves thinks very carefully about this and likes to create surprises from song to song, so some were deliberately written in one direction to fit the appropriate spot.” The end result is ‘Cyberfunk!’, in the best sense of the word….exactly the rock album Mother’s Cake had to record at this point in their career – and one that we need to hear right now.

The Protomen are more than just a concept rock band from Nashville, TN... they are messengers, riding atop an Iron Stallion (read: inside a mildly shitty tour bus) on their way to deliver the most vicious rock 'n' roll fable that the world has ever known. With several planned albums, and a live show that can crumble mountains, the future is in their hands.

Their first record, Act I, includes elements of Ennio Morricone, Queen, and Black Sabbath, that culminate in a listening experience unlike anything you've ever heard. If you're afraid of lo-fi sky cracking distortion and epic chaos, you won't survive this album.

Act II is a departure from the signature distorted sound of the first record. It focuses on a time before “the world fell under darkness.” It’s a brighter and more optimistic look at the world The Protomen have created. The album is split into two separate eras (and sounds) and gives the feeling of two distinct albums in one. Act II was co-produced by Alan Shacklock (Meatloaf, The Alarm, Bonnie Tyler, Babe Ruth, Roger Daltry) and The Protomen.

The Protomen have spent the last 15 years building a large and fiercely devoted fan base by kicking some major ass, playing some of the largest US festivals, occasionally opening for the likes of Tenacious D and Andrew W.K., and headlining their own tours across the US and choice parts of Canada, Australia, and Europe.

Most recently, their cover of Phil Collins’ “In The Air Tonight,” from their 2015 release, The Cover Up, was used in Season 3 of Netflix’s COBRA KAI. That’s right. The Protomen were in a scene with Macchio.

As for the future, The Protomen are currently in the studio working on their more-epic-than-epic new album, Act III. When that drops in the very near future, they’ll hit the road on a huge Act III world tour. 

The Protomen are more than just a concept rock band from Nashville, TN... they are messengers, riding atop an Iron Stallion (read: inside a mildly shitty tour bus) on their way to deliver the most vicious rock 'n' roll fable that the world has ever known. With several planned albums, and a live show that can crumble mountains, the future is in their hands.

Their first record, Act I, includes elements of Ennio Morricone, Queen, and Black Sabbath, that culminate in a listening experience unlike anything you've ever heard. If you're afraid of lo-fi sky cracking distortion and epic chaos, you won't survive this album.

Act II is a departure from the signature distorted sound of the first record. It focuses on a time before “the world fell under darkness.” It’s a brighter and more optimistic look at the world The Protomen have created. The album is split into two separate eras (and sounds) and gives the feeling of two distinct albums in one. Act II was co-produced by Alan Shacklock (Meatloaf, The Alarm, Bonnie Tyler, Babe Ruth, Roger Daltry) and The Protomen.

The Protomen have spent the last 15 years building a large and fiercely devoted fan base by kicking some major ass, playing some of the largest US festivals, occasionally opening for the likes of Tenacious D and Andrew W.K., and headlining their own tours across the US and choice parts of Canada, Australia, and Europe.

Most recently, their cover of Phil Collins’ “In The Air Tonight,” from their 2015 release, The Cover Up, was used in Season 3 of Netflix’s COBRA KAI. That’s right. The Protomen were in a scene with Macchio.

As for the future, The Protomen are currently in the studio working on their more-epic-than-epic new album, Act III. When that drops in the very near future, they’ll hit the road on a huge Act III world tour. 

ROVAR are known for their atmospheric Alternative Rock that’s best enjoyed live and loud amidst an energetic crowd. At their shows, the boys give everything they’ve got, radiating infectious energy from the stage. Vintage vibes and lots of soul – ROVAR are the salvation for everyone searching for new honest, handmade Rock music.

The band formed in March 2018 when Paul and Luca were looking for a new drummer for their Blues Rock trio and met up with Bennet. There was an instant connection between them and they soon started writing and recording their first self-titled EP which perfectly resembles the band’s unrestrained power and passion.

Ever since, ROVAR have played with artists like Zodiac, Nightstalker, Kamchatka, Eric Steckel, Komatsu, and many more. This summer, they perform on the stages of MuTaChi festival, Stemweder Open Air as well as the biggest city fair of Northern Germany in Oldenburg.

ROVAR's debut album "Miles" featuring the singles "Hell", "Way Out" and “Black Leaves” has been released on all streaming platforms on August 5th, 2022.

ROVAR are known for their atmospheric Alternative Rock that’s best enjoyed live and loud amidst an energetic crowd. At their shows, the boys give everything they’ve got, radiating infectious energy from the stage. Vintage vibes and lots of soul – ROVAR are the salvation for everyone searching for new honest, handmade Rock music.

The band formed in March 2018 when Paul and Luca were looking for a new drummer for their Blues Rock trio and met up with Bennet. There was an instant connection between them and they soon started writing and recording their first self-titled EP which perfectly resembles the band’s unrestrained power and passion.

Ever since, ROVAR have played with artists like Zodiac, Nightstalker, Kamchatka, Eric Steckel, Komatsu, and many more. This summer, they perform on the stages of MuTaChi festival, Stemweder Open Air as well as the biggest city fair of Northern Germany in Oldenburg.

ROVAR's debut album "Miles" featuring the singles "Hell", "Way Out" and “Black Leaves” has been released on all streaming platforms on August 5th, 2022.

S8NT ELEKTRIC - THE NEW LOUD

S8NT ELEKTRIC is a five-piece hard rock band from Los Angeles, influenced by all types of rock, alternative, and even disco.

With a goal of innovating Rock n’ Roll for the 21st century they have hard-hitting players and unexpected twists and turns in their music. Releasing one single at a time, S8NT ELEKTRIC are paving their own lane in this complicated musical landscape.

Formed in 2021, the lineup includes Briana Carbajal on vocals, Niko Tsangaris on lead guitar, London Hudson on drums, Eric Matt on rhythm guitar, and Jack Kleinman on bass.

Their brand new single "Subliminal" will be released worldwide on May 20th, 2022! 

S8NT ELEKTRIC - THE NEW LOUD

S8NT ELEKTRIC is a five-piece hard rock band from Los Angeles, influenced by all types of rock, alternative, and even disco.

With a goal of innovating Rock n’ Roll for the 21st century they have hard-hitting players and unexpected twists and turns in their music. Releasing one single at a time, S8NT ELEKTRIC are paving their own lane in this complicated musical landscape.

Formed in 2021, the lineup includes Briana Carbajal on vocals, Niko Tsangaris on lead guitar, London Hudson on drums, Eric Matt on rhythm guitar, and Jack Kleinman on bass.

Their brand new single "Subliminal" will be released worldwide on May 20th, 2022! 

2022 is upon us. Another fresh new reset of the month odometer!

But this particular New Year is especially exciting and significant for Grammy-nominated, multi-platinum legends Smash Mouth...as it neatly coincides with a fresh new beginning for the San Jose rock/pop icons. This year welcomes a shockingly improved and utterly re-energized Smash Mouth with the proud introduction of their hugely-talented new frontman Zach Goode.

The New York City-born, Los Angeles-based Goode boasts a dazzlingly impressive, never ending list of stage credits as both actor and singer. His beautifully rough-and-tumble...yet pitch-perfect and rangy...vocal style instantly proving a perfect match for Smash Mouth’s beachy brand of high energy Alt-pop.

 A look back at Smash Mouth’s formative years shows a band determined to make an impact from the get-go. Formed in late 1994, the band immediately begins recording demos and showcasing in both San Jose and Hollywood. In June of 1997, Smash Mouth is signed to Interscope Records when label brass catch wind of an unknown (and unsigned) band being ADDED to monumentally influential L.A. radio station KROQ’s playlist after only one spin of their song “Walkin’ On The Sun”.

Smash mouth’s major-label debut “Fush Yu Mang” goes more than DOUBLE PLATINUM and sets the table for what most consider their masterpiece; 1999’s brilliant follow-up album “Astrolounge”. Boasting three top-ten hits (All-Star...Then The Morning Comes...Can’t Get Enough Of You Baby), sales for “Astrolounge” nearly double those for “Fush Yu Mang”. Approaching nearly QUADRUPLE PLATINUM status.

Several catch phrases come to mind with Smash Mouth at the dawn of 2022. Onward and upward! Bigger and better! New and vastly improved! But here’s the reality: Smash Mouth is now poised to consistently deliver the best live show you’ll see in 2022. And here’s why: Ammunition. Smash Mouth has the best songs. And more of them than any of our friendly competitors. Period. And in new recruit Zach Goode, Smash Mouth has landed the perfect commanding/veteran frontman who will return them to the top of the mountain. And keep them there.

So buckle your seatbelt and brace yourself for Smash Mouth in 2022.

It’s guaranteed to be a thrilling and fulfilling top-billing super-thing.

You’ll see...

...and hear.

2022 is upon us. Another fresh new reset of the month odometer!

But this particular New Year is especially exciting and significant for Grammy-nominated, multi-platinum legends Smash Mouth...as it neatly coincides with a fresh new beginning for the San Jose rock/pop icons. This year welcomes a shockingly improved and utterly re-energized Smash Mouth with the proud introduction of their hugely-talented new frontman Zach Goode.

The New York City-born, Los Angeles-based Goode boasts a dazzlingly impressive, never ending list of stage credits as both actor and singer. His beautifully rough-and-tumble...yet pitch-perfect and rangy...vocal style instantly proving a perfect match for Smash Mouth’s beachy brand of high energy Alt-pop.

 A look back at Smash Mouth’s formative years shows a band determined to make an impact from the get-go. Formed in late 1994, the band immediately begins recording demos and showcasing in both San Jose and Hollywood. In June of 1997, Smash Mouth is signed to Interscope Records when label brass catch wind of an unknown (and unsigned) band being ADDED to monumentally influential L.A. radio station KROQ’s playlist after only one spin of their song “Walkin’ On The Sun”.

Smash mouth’s major-label debut “Fush Yu Mang” goes more than DOUBLE PLATINUM and sets the table for what most consider their masterpiece; 1999’s brilliant follow-up album “Astrolounge”. Boasting three top-ten hits (All-Star...Then The Morning Comes...Can’t Get Enough Of You Baby), sales for “Astrolounge” nearly double those for “Fush Yu Mang”. Approaching nearly QUADRUPLE PLATINUM status.

Several catch phrases come to mind with Smash Mouth at the dawn of 2022. Onward and upward! Bigger and better! New and vastly improved! But here’s the reality: Smash Mouth is now poised to consistently deliver the best live show you’ll see in 2022. And here’s why: Ammunition. Smash Mouth has the best songs. And more of them than any of our friendly competitors. Period. And in new recruit Zach Goode, Smash Mouth has landed the perfect commanding/veteran frontman who will return them to the top of the mountain. And keep them there.

So buckle your seatbelt and brace yourself for Smash Mouth in 2022.

It’s guaranteed to be a thrilling and fulfilling top-billing super-thing.

You’ll see...

...and hear.

WIE FÄNGT SO ETWAS AN? EIN SONG, EIN BUCH, EIN SOS?

ZUNÄCHST IST DA DIE IDEE, DIE DÄMMERUNG. ZUNÄCHST IST DA LICHT IN DEN STRASSEN
UND GASSEN, AN SPÄTEN SOMMERTAGEN, DURCH LAUBDÄCHER UND DURCH FENSTER
FALLEND. AUF DER FENSTERBANK SITZEND ODER WEIT WEG. FRÜHER, IN VERGANGENER ZEIT,
VERKLÄRT, 10 JAHRE SPÄTER. ALLE MÖGLICHEN GEFÜHLE, VERACHTUNG, LIEBE, TROST UND
KUMMER, MENSCHEN UND ORTE, DIE ALLE EINS MITEINANDER GEMEIN HABEN:

DIESES UNS ALLE UMGEBENDE LICHT. IMMER ANDERS, IMMER GLEICH. IMMER DA, IMMER
VERSCHWINDEND. VERSCHWINDEND GERING. UND GENAU DAVON HANDELT JEDER SONG
AUF A DIFFERENT KIND OF LIGHT UND DAVON HANDELT KEIN EINZIGER SATZ IN IRGENDEINEM
DER SONGS.

ES GIBT KEINEN ROTEN FADEN, KEIN LICHT AM ENDE DES TUNNELS. GAB ES NIE UND WIRD ES
NIE GEBEN, WEIL DAS ZU EINFACH WÄRE. ALLES IST SO, WIE ES SEIN MUSS, UND ALLES
SOLLTE UND MUSS DESHALB KONSTANT GEÄNDERT UND IN FRAGE GESTELLT WERDEN. AM
EHESTEN DIE EIGENE EXISTENZ ODER DAS, WAS MAN DAFÜR HÄLT, DENN LICHT BRICHT,
LICHT VERÄNDERT SICH, LICHT BLENDET, LICHT WÄRMT, LICHT HILFT UND LICHT TÄUSCHT
IMMER UND IMMER WIEDER.

LICHT, IN ALL SEINEN FORMEN, IST NICHTS ANDERES ALS EINE METAPHER FÜR LEBEN UND
TOD, ES IST NICHT GEFÄLLIG, MÖCHTE NICHT GEFALLEN, ENTWICKELT SICH NICHT WEITER,
WEIL ES GUT IST, WIE ES AUFTRITT, WENN ES AUFTRITT, DA, WO ES IN ERSCHEINUNG TRITT,
UND DAMIT FÜR DEN MOMENT SEINE EXISTENZBERECHTIGUNG HAT UND ANDERE EXISTENZ
BERECHTIGT. UND DAS IST DAS EINZIGE, WAS ZÄHLT. DEN BRUCHTEIL EINER SEKUNDE
SPÄTER KANN ES SCHON WIEDER IN DEN AUGEN BRENNEN, KANN ES VERSCHWUNDEN SEIN,
WEIL DIE TÜR INS SCHLOSS GEFALLEN IST, UND SELBST WENN DIE DUNKELHEIT DANN DEN
RAUM UND ALL SEINE WESEN EINNIMMT UND BEGLEITET, SO MUSS MAN NICHT FRAGEN, OB
ES ZU SPÄT IST FÜR DAS AUFKEIMEN VON HOFFNUNG, DENN HOFFNUNG GAB ES NIE, NUR
DEN IMMERWÄHRENDEN DURST NACH DEMNÄCHSTEN TAG, EGAL, WIE DUNKEL DIE NACHT
IST.

DESHALB IST A DIFFERENT KIND OF LIGHT LEICHT UND ZERMÜRBEND, SANFT UND BRUTAL,
ELOQUENT UND RÄUDIG, DESHALB VERSUCHT ES ALL DAS ZU SEIN, WAS ES VIELLEICHT
BEDEUTEN KÖNNTE, MENSCH ZU SEIN: EIN BALANCEAKT ZWISCHEN MUT UND
VERZWEIFLUNG UND DER WEISHEIT, AUS ALTEN FEHLERN GELERNT ZU HABEN, UND DER
GEWISSHEIT, DASS DAS NICHT DER WEISHEIT LETZTER SCHLUSS IST.

WIE FÄNGT SO ETWAS AN? EIN SONG, EIN BUCH, EIN SOS?

ZUNÄCHST IST DA DIE IDEE, DIE DÄMMERUNG. ZUNÄCHST IST DA LICHT IN DEN STRASSEN
UND GASSEN, AN SPÄTEN SOMMERTAGEN, DURCH LAUBDÄCHER UND DURCH FENSTER
FALLEND. AUF DER FENSTERBANK SITZEND ODER WEIT WEG. FRÜHER, IN VERGANGENER ZEIT,
VERKLÄRT, 10 JAHRE SPÄTER. ALLE MÖGLICHEN GEFÜHLE, VERACHTUNG, LIEBE, TROST UND
KUMMER, MENSCHEN UND ORTE, DIE ALLE EINS MITEINANDER GEMEIN HABEN:

DIESES UNS ALLE UMGEBENDE LICHT. IMMER ANDERS, IMMER GLEICH. IMMER DA, IMMER
VERSCHWINDEND. VERSCHWINDEND GERING. UND GENAU DAVON HANDELT JEDER SONG
AUF A DIFFERENT KIND OF LIGHT UND DAVON HANDELT KEIN EINZIGER SATZ IN IRGENDEINEM
DER SONGS.

ES GIBT KEINEN ROTEN FADEN, KEIN LICHT AM ENDE DES TUNNELS. GAB ES NIE UND WIRD ES
NIE GEBEN, WEIL DAS ZU EINFACH WÄRE. ALLES IST SO, WIE ES SEIN MUSS, UND ALLES
SOLLTE UND MUSS DESHALB KONSTANT GEÄNDERT UND IN FRAGE GESTELLT WERDEN. AM
EHESTEN DIE EIGENE EXISTENZ ODER DAS, WAS MAN DAFÜR HÄLT, DENN LICHT BRICHT,
LICHT VERÄNDERT SICH, LICHT BLENDET, LICHT WÄRMT, LICHT HILFT UND LICHT TÄUSCHT
IMMER UND IMMER WIEDER.

LICHT, IN ALL SEINEN FORMEN, IST NICHTS ANDERES ALS EINE METAPHER FÜR LEBEN UND
TOD, ES IST NICHT GEFÄLLIG, MÖCHTE NICHT GEFALLEN, ENTWICKELT SICH NICHT WEITER,
WEIL ES GUT IST, WIE ES AUFTRITT, WENN ES AUFTRITT, DA, WO ES IN ERSCHEINUNG TRITT,
UND DAMIT FÜR DEN MOMENT SEINE EXISTENZBERECHTIGUNG HAT UND ANDERE EXISTENZ
BERECHTIGT. UND DAS IST DAS EINZIGE, WAS ZÄHLT. DEN BRUCHTEIL EINER SEKUNDE
SPÄTER KANN ES SCHON WIEDER IN DEN AUGEN BRENNEN, KANN ES VERSCHWUNDEN SEIN,
WEIL DIE TÜR INS SCHLOSS GEFALLEN IST, UND SELBST WENN DIE DUNKELHEIT DANN DEN
RAUM UND ALL SEINE WESEN EINNIMMT UND BEGLEITET, SO MUSS MAN NICHT FRAGEN, OB
ES ZU SPÄT IST FÜR DAS AUFKEIMEN VON HOFFNUNG, DENN HOFFNUNG GAB ES NIE, NUR
DEN IMMERWÄHRENDEN DURST NACH DEMNÄCHSTEN TAG, EGAL, WIE DUNKEL DIE NACHT
IST.

DESHALB IST A DIFFERENT KIND OF LIGHT LEICHT UND ZERMÜRBEND, SANFT UND BRUTAL,
ELOQUENT UND RÄUDIG, DESHALB VERSUCHT ES ALL DAS ZU SEIN, WAS ES VIELLEICHT
BEDEUTEN KÖNNTE, MENSCH ZU SEIN: EIN BALANCEAKT ZWISCHEN MUT UND
VERZWEIFLUNG UND DER WEISHEIT, AUS ALTEN FEHLERN GELERNT ZU HABEN, UND DER
GEWISSHEIT, DASS DAS NICHT DER WEISHEIT LETZTER SCHLUSS IST.

Around March 2020 the world took a break from live music with the onset of a worldwide pandemic, incase you hadn’t heard? When the world stage shut down, Wolfmother's Andrew Stockdale took to the home studio playing all of the instruments, crafting out album #6, “Rock Out”. With mental health becoming one of the most prevalent issues during the pandemic, Stockdale used the majesty of rock with all of it’s chakra healing qualities to guide himself with the creation of “Rock Out”. The idea of Rock’n’Roll giving pure transportation to a better place amidst all of the monotony of daily covid life became a self help cathartic release delivered with a New York Cab driver twang. If you can’t travel during a pandemic, you can get in a cab straight to Hells Kitchen with this little number.

Moving along it’s time to go trans Atlantic back to the mother land of British Rock with the familiar yet unfamiliar “Feelin Love” it’s Cream, it’s Deep Purple, it’s some other band who knows but it’s 2021 and it’s fresh off the ranks in the form of Wolfmother. The track, swings and pumps along in it effortless, unaware manner, then leaves you hanging for a massive POG induced, riff laddened chorus with “Feelin Love”.  Then it’s time for some angst and existential crisis with the self imposed neurosis of “Humble”. Life has become extremely pragmatic and the world has been contact traced into the wrath of drop D relentless riffage. With enough tension to melt a Marshall amp the “waiting for Goddo” type theme entertains the daily musings of delusion and procrastination. This is resolved in humility to accept ones fate and do the best one can. It is a silent victory essentially over nothing except daily existence with a song to show for it. After completing this all on electric drums and plug in amps ... and everything very digitised and laptopish.

Stockdale contemplated the idea of re-tracking with live drums with over dubs. Rather than going to L.A to a fancy studio that looks good on paper, Stockdale went local and recorded the whole record for the most part in his home studio, with a local 19 year old second year student from SAE Insitute in Byron Bay. Yes the Grammy award winning, multi platinum artist put his creative vision in the hands of a  local, novice with little experience. Maybe there’s a side of Stockdale that achieved this success while being a novice with no experience himself, sometimes unbridled youthful enthusiasm will get the results un denounced to itself. Though the ears don’t lie and if it sounds good that’s all that matters. From here Stockdale called on longtime touring cohort Hamish Rosser to contribute drum duties. Most of the record was tracked in one day in Stockdale’s front room in time for school pick up. Did someone call this 'Dad rock' ... ?  So the drums were smashed out in one session. Then a few more songs were written just to beef it up and give it some extra  kick ... tracks such as “Outside”, “Only Way” and “Humble” were last minute creations, that were now rehearsed and fleshed out with a band at Stockdale's new Wolf Cave (which was a former art gallery up at “Bangalow Plaza”). A legendary veteran of many a great record, Paul Pilsnenks dropped in to engineer “Humble” which was completely tracked in about 3 hours one night in September 2021.

All in all, this record in it’s various incarnations from demo to live band recording was in it’s gestation period for about a year and a half. Also Alexx McConnell stepped in on bass duties for “Humble” and “Only Way”  becoming a local recruit for shows after all of the travel restrictions that were made throughout the year, which afforded Wolfmother to do online gigs and a handful of local shows. One could say this record was an ode to the front men and riff masters of yester year via, London, New Jersey, Birmingham through to Pasadena then Byron Bay and back;  it’s a soundtrack for an imaginary stadium tour of 1982 that never happened. Yet it exists none the less in Mp3 and WAV format on your chosen digital platform be it iTunes, Spotify, Apple Music etc. May the algorithms be kind and get this thing heard by many a fan and possible new fans, keeping the Rock’n’Roll dream alive. Remember when in doubt, 'Rock Out!'

Around March 2020 the world took a break from live music with the onset of a worldwide pandemic, incase you hadn’t heard? When the world stage shut down, Wolfmother's Andrew Stockdale took to the home studio playing all of the instruments, crafting out album #6, “Rock Out”. With mental health becoming one of the most prevalent issues during the pandemic, Stockdale used the majesty of rock with all of it’s chakra healing qualities to guide himself with the creation of “Rock Out”. The idea of Rock’n’Roll giving pure transportation to a better place amidst all of the monotony of daily covid life became a self help cathartic release delivered with a New York Cab driver twang. If you can’t travel during a pandemic, you can get in a cab straight to Hells Kitchen with this little number.

Moving along it’s time to go trans Atlantic back to the mother land of British Rock with the familiar yet unfamiliar “Feelin Love” it’s Cream, it’s Deep Purple, it’s some other band who knows but it’s 2021 and it’s fresh off the ranks in the form of Wolfmother. The track, swings and pumps along in it effortless, unaware manner, then leaves you hanging for a massive POG induced, riff laddened chorus with “Feelin Love”.  Then it’s time for some angst and existential crisis with the self imposed neurosis of “Humble”. Life has become extremely pragmatic and the world has been contact traced into the wrath of drop D relentless riffage. With enough tension to melt a Marshall amp the “waiting for Goddo” type theme entertains the daily musings of delusion and procrastination. This is resolved in humility to accept ones fate and do the best one can. It is a silent victory essentially over nothing except daily existence with a song to show for it. After completing this all on electric drums and plug in amps ... and everything very digitised and laptopish.

Stockdale contemplated the idea of re-tracking with live drums with over dubs. Rather than going to L.A to a fancy studio that looks good on paper, Stockdale went local and recorded the whole record for the most part in his home studio, with a local 19 year old second year student from SAE Insitute in Byron Bay. Yes the Grammy award winning, multi platinum artist put his creative vision in the hands of a  local, novice with little experience. Maybe there’s a side of Stockdale that achieved this success while being a novice with no experience himself, sometimes unbridled youthful enthusiasm will get the results un denounced to itself. Though the ears don’t lie and if it sounds good that’s all that matters. From here Stockdale called on longtime touring cohort Hamish Rosser to contribute drum duties. Most of the record was tracked in one day in Stockdale’s front room in time for school pick up. Did someone call this 'Dad rock' ... ?  So the drums were smashed out in one session. Then a few more songs were written just to beef it up and give it some extra  kick ... tracks such as “Outside”, “Only Way” and “Humble” were last minute creations, that were now rehearsed and fleshed out with a band at Stockdale's new Wolf Cave (which was a former art gallery up at “Bangalow Plaza”). A legendary veteran of many a great record, Paul Pilsnenks dropped in to engineer “Humble” which was completely tracked in about 3 hours one night in September 2021.

All in all, this record in it’s various incarnations from demo to live band recording was in it’s gestation period for about a year and a half. Also Alexx McConnell stepped in on bass duties for “Humble” and “Only Way”  becoming a local recruit for shows after all of the travel restrictions that were made throughout the year, which afforded Wolfmother to do online gigs and a handful of local shows. One could say this record was an ode to the front men and riff masters of yester year via, London, New Jersey, Birmingham through to Pasadena then Byron Bay and back;  it’s a soundtrack for an imaginary stadium tour of 1982 that never happened. Yet it exists none the less in Mp3 and WAV format on your chosen digital platform be it iTunes, Spotify, Apple Music etc. May the algorithms be kind and get this thing heard by many a fan and possible new fans, keeping the Rock’n’Roll dream alive. Remember when in doubt, 'Rock Out!'

A bullseye for fantasies .

Introducing Modern Love, the latest edition from dual-booted songwriting CPU Whitehorse. Designed for life at 25,000 frames per second, Modern Love offers premium processing and emotion-capture capabilities . Optimized for low-light conditions, Modern Love‘s intuitive UX creates a fully immersive experience of interpersonal harmonics in ultra rich waveshape sonics . Each Modern Love OS comes complete with experiential FAQ database, ex.: Do you smell trouble? Do you want some?

With life’s burst bubbles and crossed wires detailed in hi-def, Modern Love launches with “Prototype,” an atmospheric tribute to DNA one-of-a-kindness, strung with Lonely Hearts Club swells . Coded with themes of human glitches and emotional reboots, the beach tones of “Relic In A New Age” and ballad-type “Radio Silence,” interface between machine-enabled and machine-resistant human relationships . Modern Love is Whitehorse’s blueprint for love in the Digital Age.

“I Wanna Make Promises (That I Can’t Keep”), a loping, laidback fantasy 404, buzzes with electrostatic escapism for jolted, jilted ideas . Delivered with an official video shot in Phantom Flex4k ultra slo-mo, “Promises” exposes all of the micro aches and urges that go unseen in reality’s standard frame rate . Rare duet “Best Bet,” and all songs after that, further expose the collections’ emotional motherboard, a nest of circuitry carrying the curses and cruxes that muddle our signals to one another . Album closer “Pollyanna,” channels Greek mythology to modulate a chorus of unheeded disaster warnings.

Assembled at Taurus Recordings, a professional facility in Toronto, ON, Modern Love was hardwired by Luke Doucet and Melissa McClelland, with additional component parts by Thom D’Arcy (string arrangements), Fred Eltringham (drums), Gus Van Go (bass on “Promises”), Robin Hatch (wurlitzer, mellotron) and Drew Jurecka (string performances) .

With Modern Love, Whitehorse continues to tell their love story, if not the one they expected.

A bullseye for fantasies .

Introducing Modern Love, the latest edition from dual-booted songwriting CPU Whitehorse. Designed for life at 25,000 frames per second, Modern Love offers premium processing and emotion-capture capabilities . Optimized for low-light conditions, Modern Love‘s intuitive UX creates a fully immersive experience of interpersonal harmonics in ultra rich waveshape sonics . Each Modern Love OS comes complete with experiential FAQ database, ex.: Do you smell trouble? Do you want some?

With life’s burst bubbles and crossed wires detailed in hi-def, Modern Love launches with “Prototype,” an atmospheric tribute to DNA one-of-a-kindness, strung with Lonely Hearts Club swells . Coded with themes of human glitches and emotional reboots, the beach tones of “Relic In A New Age” and ballad-type “Radio Silence,” interface between machine-enabled and machine-resistant human relationships . Modern Love is Whitehorse’s blueprint for love in the Digital Age.

“I Wanna Make Promises (That I Can’t Keep”), a loping, laidback fantasy 404, buzzes with electrostatic escapism for jolted, jilted ideas . Delivered with an official video shot in Phantom Flex4k ultra slo-mo, “Promises” exposes all of the micro aches and urges that go unseen in reality’s standard frame rate . Rare duet “Best Bet,” and all songs after that, further expose the collections’ emotional motherboard, a nest of circuitry carrying the curses and cruxes that muddle our signals to one another . Album closer “Pollyanna,” channels Greek mythology to modulate a chorus of unheeded disaster warnings.

Assembled at Taurus Recordings, a professional facility in Toronto, ON, Modern Love was hardwired by Luke Doucet and Melissa McClelland, with additional component parts by Thom D’Arcy (string arrangements), Fred Eltringham (drums), Gus Van Go (bass on “Promises”), Robin Hatch (wurlitzer, mellotron) and Drew Jurecka (string performances) .

With Modern Love, Whitehorse continues to tell their love story, if not the one they expected.