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Yungblud – aka 27-year-old Doncaster-born Dominic Harrison – is a divisive presence in modern alternative music. His cult of devoted fans deify him as the next saviour of rock, while other dismiss him as an industry plant. He’s the kind of musician that the gatekeepers are proud to claim they’ve never heard of, but who needs their approval anyway when the guy can launch, curate and headline his very own festival?
Enter the inaugural Bludfest, taking over Milton Keynes National Bowl for the day, with a bill largely showcasing emerging pop punk solo artists from the UK and US, some with friends in high places: Landon Barker, is Blink-182 man Travis Barker’s son, and Jesse Jo Stark, fashion heiress/goddaughter of Cher, also happens to be Yungblud’s partner. Which is all well and good, if you actually get to see them, because physically entering Bludfest is a painful, two-hour ordeal that had me grappling for information from stressed-out stewards, standing in unmoving lines and trying to explain to security that my sertraline was not an illicit substance.
The event features the main stage and a smaller, more intimate one which hosts the highs and lows of the day. Hannah Grae’s performance is much grander than the stage that holds her, with the powerful vocals of Who Dunnit? and the brutally honest lyricism of Star Crossed Lover. On the other hand, Landon Barker arrives late, greeting us with an inauspicious ‘Sup, London.’ His brand of pop-punk feels stale compared to the more innovative acts that follow.
The Damned fill Bludfest’s icon slot, assuaging some of my initial fears that, at 24, I might be the oldest person at the festival. And icons they are, with the most skill and polish of any act that takes to the stage. today The age difference between them and the crowd is not lost on frontman Dave Vanian, who quips, “We do our own shows occasionally, and you’re all welcome to come. And we don’t charge extra for young people”. The crowd at the main stage feels criminally small for these genuinely pioneering legends, but The Damned still shine on Eloise, Beware of the Clown and Neat Neat Neat, one of 1977’s timeless punk classics.
Soft Play are undoubtedly the heaviest band on the lineup, and the the artists formerly known as Slaves are bursting with energy, boldly leaning heavily upon songs from their recently-released Heavy Jelly album. Unfortunately for them, the momentum of their set is broken up by lengthy pauses to address audience safety concerns.
In theory, there are no clashes at Bludfest. The schedule alternates between the stages, giving you five minutes to dash from one to another in time for the start of the next act. But while this is a laudable idea, in practice, the short set times mean that if you get caught in a queue – for water, food, or just moving around the festival – the best you can hope for is catching the closing ten minutes of a set.
Towards the end of the evening, the tight schedule blurs, causing sets to overlap. With the two stages in close proximity, it means that NOAHFINNCE’s blinding pop-punk battles with the sound of Lil Yachty winning over the crowd on the main stage. The rapper’s command over the audience is dazzling, capturing the crowd in a way that no other main stage act has managed.
The day’s main attraction, naturally, is Yungblud, and from the reception he receives from the minute he bounces onstage, it’s obvious that he’s the reason that everyone is here. Love his music or not, you can’t deny the guy is a born showman. To the outsider, declarations such as “This is a night you’ll remember for the rest of your life” feel clichéd, even presumptuous, but to the Yungblud family, Bludfest may be a near-religious experience, every bit as defining as Taylor Swift’s Eras tour is for the Swifties, a parallel accentuated by elaborate costumes and the swapping of friendship bracelets.
The man of the hour zips through the highlights of his his career to date, and from I Love You, Will You Marry Me? through Mars and The Funeral, the crowd are with him all the way to the concluding Loner. If his hopes for the festival included expanding the horizons of his live performance and hitting new heights he comfortably hits his target.
Creating a bespoke music festival from scratch with a focus on affordability and accessibility is a hugely admirable mission, and staging an event of this scale for a £50 ticket fee is a genuine achievement when arena-level artists are charging three or four times that for mid-price seats. With that said, one wonders if pulling this off with the margins involved comes at the cost of thoughtful planning and gives what could have been a truly joyful experience a frustrating edge. As one punter mutters at one point, “It’s not Bludfest, it’s Queuefest”.
With some revisions based on fan feedback, future Bludfests could well become the haven Yungblud and his devoted fans dream of. Keeping it as affordable will be a whole other challenge for one of rock’s most irrepressible characters.
“Anticipatory grief just walks with you all the time… that’s why I was trying to search for joy in certain pockets of places”: Jane Weaver’s recent experiences of death lent a “heavy mellow” to her new album
(Image credit: Nic Chapman)
Jane Weaver mixed things up on her dreamy new album, Love In Constant Spectacle. She devised a modern approach to the cut-up technique of lyric-writing, and travelled to Rockfield Studios to record with a producer for the first time. She’s never had so much to do – but, as she tells Prog, she’s happy with that result.
Those lesser talents who hitched their horses to the psychedelic bandwagon of the last decade might be feeling the strain after just a few releases, but Jane Weaver is showing absolutely no signs of losing any interest in her art. Indeed, she’s now reached the point where her music is instantly recognisable thanks to an ever-evolving solo career that stretches back to the start of the millennium.
Her fusion of hauntology via vintage analogue synths, with a love of pop’s melodicism at its most insistent and the more psychedelic end of krautrock, all garnished with mysticism and the occult, has ensured a steady of stream of releases that could be by no one else but Jane Weaver. Hell’s teeth, she could be a genre of her own.
And, while it would be easy for Weaver to stay in the comfort zone of her Mancunian base and immediate creative circle, complacency hasn’t been an option. Looking back at her more immediate trail of releases, forward has been the only way to go in the composition and creation of her latest album, Love In Constant Spectacle.
“I wanted to do something a little bit different,” she tells Prog. “I think with this record, for instance, it’s not particularly conceptual, like some of the other albums. The Silver Globe was conceptual and Modern Kosmology was inspired by [pioneering Swedish abstract artist] Hilma af Klint. The Fallen By Watch Bird [in 2010] was when I started getting more experimental and started exploring Germanic fairy tales and folklore and stuff like that. Flock was a bit more immediate, because it was a collection of pop songs that were back to back. For this one, it’s a little bit more heavy, mellow and downbeat. And a little bit more honest, maybe.”
She’s not wrong. Love In Constant Spectacle is a beautifully layered album that reveals more of itself with each subsequent listen. What becomes apparent as the pumping synths usher in opener Perfect Storm is that Weaver is moving at a more considered pace, and that there’s a story to be told. ‘Don’t blame me/It’s the universe that’s wrong,’ she laments with no little chutzpah on the delicate Univers, before giving way to a shimmering coda that tugs at the heartstrings. Elsewhere, in the spacious surroundings of the title track where her voice trades moves with punctuating instrumentation, she sighs, ‘I won’t hear when you call me.’
“I guess it’s more personal, but I didn’t want to do something directly personal,” she says. “I tend to write about different characters, so it feels like it’s not really about me. This is more of an emotional, in-touch record.”
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By her own admission, that approach is a defence mechanism that’s at odds with the prevailing mode for confessional and revealing posts on any number of social media platforms. “Everybody’s exposing their lives online and discussing everything about themselves,” says Weaver. “I don’t particularly feel comfortable doing that.”
Jane Weaver – Love In Constant Spectacle (Official Video) – YouTube
Her solution to this particular conundrum has been twofold. From a lyrical standpoint, she’s employed a new approach to her writing that’s seen her using not only the cut-up lyric technique – pioneered by artist Brion Gysin and beat author William S Burroughs, and used to stunning effect by David Bowie in his 70s heyday – but also by harnessing the random effects of sending phrases backwards and forwards through Google Translate.
“I think I actually wrote more words for this record than ever, and came away with more simple terms for everything,” she says. “I didn’t want to do something too wrapped up in so many concepts and metaphors. I just wanted to do something quite simple, and come away with something that was quite easily translated. I was doing a lot of cut and paste stuff, – mixing stuff around to make it different and then re-translating in different languages, and coming away with different things.
I don’t like to commit myself until the very last minute… it was different having a deadline
“Doing that took a lot longer to come up with something that was a lot simpler. It really kind of reduced what I was trying to say, but then I did want it to be more like little vignettes from films where you have a little meme and subtitles underneath.”
And how does she view the results? “Sometimes the poetry is really beautiful. Sometimes when you flick something to, like, Eastern European and then back again, you think, ‘My God, it sounds much better!’”
As for the album’s sonic approach, Weaver felt it best to bring in outside assistance to challenge and aid her while ceding a degree of the creative decision making. Fulfilling a long-standing ambition, she secured the services of in-demand producer John Parish – arguably best known for his work with PJ Harvey. Understanding the ramifications of a limited work time, Weaver recognised she would only get out of the partnership what she put in.
“Normally I produce stuff in a studio around the corner from my house over a period of two or three years, but this was entirely different production-wise, because there was a lot of preparing to do,” she recalls. With just two weeks booked in the bucolic environs of the storied Rockfield Studios in Monmouthshire, and a further five days marked for mixing at Bristol’s Invada Studios, Weaver says she found the looming deadlines – coupled with Parish ensuring that they were met – to be productive rather than pressured.
I needed somebody who I could look up to and just go, ‘I trust that person’s decision’
“I never finish my words until the very last minute because I want to hear what the music’s like first,” she says. “I’m going into the studio with 1,000 sheets of paper, knowing that we’ve only got so many weeks in Rockfield and then so many wherever else… I’m normally more laissez-faire, so having to get all that together was quite hard.
“And then John would say, ‘Have you finished the lyrics to this one?’ I’d be like, ‘Nearly! I’ve just done the lyrics, but I just need to put them in order!’ I don’t like to commit myself until the very last minute. I’m always like that, but it was different having a deadline.”
For all the pressure experienced by Weaver, her guitarist Joel Nicholson, bassist Matt Grayson and drummer Andrew Cheetham, she’s still full of praise about Parish. “That’s the thing about working with John – he’s very experienced as a musician, as a writer and as a producer. I needed somebody who I could look up to and just go, ‘I trust that person’s decision.’ He’d say, ‘That sounds a bit pub-rock, that,’ and I’d go, ‘Really?’ And then you’d just simplify everything.”
Working within a framework of time restraints has certainly left its mark. “There are certain things I like about working like that, because it’s very disciplined,” she says. “It’s good to experience going into a great studio like Rockfield, but I couldn’t afford to go in there for, like, three months. Working with John is just really good, rather than me running the session and using the studio as a tool to do a lot of collage work. It was just really nice that somebody else was making the decisions.”
Some of the themes are drawn out of people that I knew, who were quite hedonistic and maybe took things too far
Coupled with themes of mortality and fragility, the overall effect and mood of Love In Constant Spectacle is what she categorises as “heavy mellow” – a dichotomy that finds the intent of serious subject matter blended with an aural balm.
“Quite a lot of people passed away over the last four years or so. Some of the themes are drawn out of people that I knew, who were quite hedonistic and maybe took things too far. They weren’t necessarily into music or doing music; they were just people I might have known from back in the day. when they succumb to illness or alcoholism or drug problems, you just think, ‘How did that happen?’ Because we’re all on the same page and it’s just so random, isn’t it?”
Some passings have been closer to home, however. “Unfortunately my dad was quite poorly and died last year,” she says. “And a lot of people have this – not just with elderly parents, but living alongside something or somebody who’s quite poorly. And you think, ‘Which is best – being in anticipatory grief or somebody just dropping dead?’ You don’t know, because they’re both horrible things. But I would say anticipatory grief just walks with you all the time. That kind of influenced how I was thinking about some stuff; it’s more downbeat, more heavy mellow. And that’s why I was trying to search for joy in certain pockets of places.”
I want to be a better musician, a better guitarist and a better keyboard player
To coincide with the release of Love In Constant Spectacle, she embarked on a spring tour – her largest to date. “Touring is really important,” she states. “I want to be a better musician, I want to be a better guitarist and I want to be a better keyboard player. I don’t get anything out of it if I’m just kind of doing karaoke every night. I’d rather be more involved. I just want to get back to doing that.”
A handful of European shows have already been booked for the autumn, so it looks like busy times ahead. “I’m feeling happy,” Weaver says. “There’s so much to do, though: you’ve got to rehearse, you’ve got to do your pre-production for live rehearsals, and then decide what it’ll look like with the visuals and the stage show. So all that kind of stuff and then actually doing a tour, it’s really exciting.”
Julian Marszalek is the former Reviews Editor of The Blues Magazine. He has written about music for Music365, Yahoo! Music, The Quietus, The Guardian, NME and Shindig! among many others. As the Deputy Online News Editor at Xfm he revealed exclusively that Nick Cave’s second novel was on the way. During his two-decade career, he’s interviewed the likes of Keith Richards, Jimmy Page and Ozzy Osbourne, and has been ranted at by John Lydon. He’s also in the select group of music journalists to have actually got on with Lou Reed. Marszalek taught music journalism at Middlesex University and co-ran the genre-fluid Stow Festival in Walthamstow for six years.
The Hu have announced a series of North American headline shows.
The dates will take place as the Mongolian metal megastars trek across the continent supporting Iron Maiden. Support at The Hu’s headliners will come from The Funeral Portrait and the full list of dates is available below.
Formed in Ulaanbaatar in 2016, The Hu have gone viral with their approach to heavy metal music, performed on traditional Mongolian folk instruments. Their singles Wolf Totem and Yuve Yuve Yu both have upwards of 100 million hits on Youtube.
The band have released two albums, The Gereg (2019) and Rumble Of Thunder (2022), the former of which cracked the top 20 of album charts in Australia and Switzerland.
As well as their North American dates, The Hu are currently gearing up for a run of European shows. The dates start on September 4 in Helsinki, Finland, and finish on September 26 in Madrid, Spain. See the full list and get tickets via the band’s website.
(Image credit: The Hu)
The Hu North American tour dates 2024:
Oct 04: San Diego North Island Credit Union Ampitheatre Oct 05: Las Vegas Michelob Ultra Arena Oct 08: Los Angeles Kia Forum Oct 12: Santa Cruz The Catalyst * Oct 14: Portland Moda Center Oct 15: Spokane Knitting Factory * Oct 16: Tacoma Dome Oct 18: Salt Lake City Delta Center Oct 19: Denver Ball Arena Oct 21: Des Moines Val Air Ballroom * Oct 22: St Paul Xcel Energy Center Oct 24: Rosemont Allstate Arena Oct 25: Cleveland House Of Blues * Oct 26: Toronto Scotiabank Arena Oct 27: Quebec Videotron Arena Oct 28: Ottawa Bronson Centre * Oct 30: Montreal Centre Bell Oct 31: Buffalo Electric City * Nov 01: Philadelphia Wells Fargo Center Nov 02: Brooklyn Barclays Center Nov 04: Albany Empire Live * Nov 06: Worcester DCU Center Nov 07: Harrisburg Midtown Arts Center * Nov 08: Pittsburgh PPG Paints Arena Nov 09: Newark Prudential Center Nov 12: Baltimore CFG Bank Arena Nov 13: Charlotte Spectrum Center Nov 15: Houston House Of Blues * Nov 16: Fort Worth Dickies Arena Nov 17: San Antonio Frost Bank Center
* headline show, supported by The Funeral Portrait
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It says everything about the breadth of artists that Bloodstock are open to nowadays that Architectshave been invited to headline the Ronnie James Dio Stage on the festival’s Saturday night. The Brighton metalcore innovators have been exploring far more melodic, mainstream sounds over the last few years: something that would have been in direct opposition to Bloodstock’s interests in the not-too-distant past. But, with the Derbyshire weekender openly embracing the likes of Parkway Drive and Killswitch Engage in recent times, Architects certainly don’t feel like a wildcard booking as they surge into bouncy 2023 single Seeing Red.
Although some online grumblers have bemoaned Architects now having the gall to sound different to how they did in 2009, the truth is that the songs from their divisive 2022 album The Classic Symptoms Of A Broken Spiritsound huge here. The likes of Deep Fake and When We Were Young do the exact thing that they were designed to do when the band wrote them: inspire mass singalongs in a packed festival field. And, if those anthems aren’t for you, Architects dipping back into Doomsday, Royal Beggars and a savage Nihilist (all unquestionably classics in the band’s canon at this point) would surely have been enough to make this set a triumph.
With that all in mind, then, why does this feel slightly underwhelming?
There are a few reasons why this evening is a good Architects show as opposed to a legendary one. The main one is that the band themselves don’t seem to be as openly excited as many thought they would be.
Frontman Sam Carter is, as always, personable, likeable and funny. However, you never get the feeling that this is a show he and the band have earmarked as a special occasion. You wouldn’t expect him to gush about being in the crowd for W.A.S.P.’s headlining set in 2011 and it changing his life, but this does very much feel like just another show.
It’s something that is reflected in the choice of setlist as well. Last year, a clearly overwhelmed Killswitch Engage acknowledged the name of the stage they were on with a much-loved but rarely played cover of Holy Diver. You’d have thought that Architects would have gone out of their way to plan something like that: something a bit special, marking their ascent to the summit of a UK festival for the first time. Maybe bringing former guitarist Josh Middleton (who played earlier with Sylosis) out for a song? Maybe a banger from an early album like Hollow Crown? Just… something? But it never comes.
Architects are a great band – not to mention a propulsive live force, especially as they end with a massive-sounding Animals. But, by underplaying the sense of occasion that tonight deserves, they’ve missed out on creating something that will be lionised in the future.
Architects – “Hereafter” / Live @ Bloodstock Open Air, 10.08.2024 – YouTube
Architects setlist: Bloodstock Open Air, Derbyshire, UK – August 10, 2024
Seeing Red Giving Blood Deep Fake Impermanence Black Lungs These Colours Don’t Run Hereafter Gravedigger A New Moral Low Ground Curse Royal Beggars Doomsdays Meteor When We Were Young
“A lot of us didn’t like each other back in the day. Slayer were hard-ass. They didn’t even get along with Metallica”: Why Hirax’s Katon W De Pena is one of thrash metal’s great unsung heroes
(Image credit: Katon W De Pena)
There’s a word that Hirax singer Katon W. De Pena uses a lot: integrity. “People aren’t stupid, they listen. They recognise integrity,” he says at one point during our conversation. “We were stubborn. Maybe that counted against us, but integrity was important,” he says at another. Then there’s the two word credo that define both Hirax and Katon himself: “Integrity matters.”
Integrity has carried Hirax a long way. The Los Angeles band might not be hugely well-known outside thrash circles, but they can legitimately lay claim to being one of the scene’s founding fathers. They were there at the very start of it all, mixing it up with Metallica and Slayer. They never came close to becoming as big as either of those bands, but the two albums they released during their original run – 1985’s Raging Violence and the following year’s Hate, Fear And Power – are cult classics beloved of collectors and connoisseurs.
They split in 1987, just as their peers were elbowing their way into the mainstream, a victim of ego clashes and stubbornness. But a second act, which started in the early 2000s and continues to this day, saw them returning to the fray, releasing a string of killer modern thrash albums.
Katon himself is a lifer in this business, which explains why he’s uncomplainingly sitting on the end of a Zoom call at 4am his time, the result of a scheduling snafu (ours, not his). This hasn’t dampened his full-blast enthusiasm for his band, for music and for life in general, which is contagious. His energy is doubtless helped by the fact that this one-time boozehound quit drinking a while ago.
“We partied with bands like Slayer and Exodus, but we’ve lost a lot of people over the years,” he says. “When I turned 60 [in 2023], I made a decision: would I like to be around another 10 or 20 years? The answer was yes.”
(Image credit: Katon W De Pena)
Katon was born on the East Coast, the son of a navy veteran who served in World War II, Korea and Vietnam. When he was a kid, his family moved to Buena Park in Orange County, south of LA. He’d grown up listening to blues, soul and R&B, but this was the 70s, and hard rock and heavy metal were on the rise. He went from listening to Otis Redding, Muddy Waters and Sam Cooke to Jimi Hendrix, Black Sabbath, Montrose, Ted Nugent, Judas Priest, AC/DC and Thin Lizzy.
“I had to learn about that music – it was almost like a survival skill, cos I was the only black kid in the area,” he says. “I learned how to make friends, but I loved the music too. And I was such a hyper kid, it was perfect for me.”
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In 1982, inspired by the New Wave Of British Heavy Metal that was filtering through to the US, as well as homegrown heroes Twisted Sister and Riot, he put together his own band, Kaos. A lot of other kids his age had the same idea.
“I knew James Hetfield when he was still in Leather Charm. I saw that whole thing happening,” he says, referring to Metallica’s formation. “We played a show at the Bruin Den in Long Beach. It was Roxx Regime headlining, who became Stryper, then Kaos, then Metallica opening. They were only just starting to pick up their speed.”
A flyer for the gig where Metallica opened for Katon’s band Kaos (Image credit: Katon W De Pena)
It was an electrifying time. “Metallica was playing fast, Slayer was playing fast, we played fast. We were influencing each other. We all wanted to play faster than the other guy. It was a competitive thing. A lot of us didn’t like each other back in the day. Slayer were hard-ass. They didn’t even get along with Metallica.”
By early 1984, Kaos had become Hirax. They released a four-track demo that married the NWOBHM’s denim-clad power with thrash’s punk-adjacent attitude, with Katon’s primal yet operatic howl at the centre of it.
A natural born networker, he was already embedded in the tape-trading scene. Bands around the world would swap rehearsal and demo tapes via snail mail, boosting each other in the process. “The tape trading thing was at fever pitch,” he says. “It was the internet of the day.”
He reels off the people he corresponded with: “Anthrax, Overkill, Chuck Schuldiner when Death were still called Mantis, Tom G Warrior of Hellhammer, Kreator back when they were called Terror, [late Bathory mainman] Quorthon. We were turning everybody onto bands that wouldn’t have got noticed any other way.”
His own band’s demo was in circulation. “We’d send out 50 cassettes a week, no problem,” he says. “I remember one day I got a knock on the door, and there’s this big biker guy. I’m thinking, ‘What the hell’s going on?’ He says, ‘Are you Katon? I wanna buy two Hirax demo tapes.’ And he paid me three dollars each then got on his motorcycle and rode off. That’s when I knew something was happening.”
Big labels weren’t interested in this nascent scene – it was too raw, too underground, too uncommercial to warrant attention. But a bunch of metal-loving kids had started their own labels to get this music out there. One of these was Brian Slagel, who had founded Metal Blade records a couple of years earlier and given Metallica and Slayer their first breaks. “Brian was so important to that scene,” says Katon. “He was the only person in LA who took a chance on this kind of music.”
Slagel gave Hirax a spot on the sixth instalment of his Metal Massacre compilation in early 1985, and put out their debut album, Raging Violence later that same year. Featuring a logo designed by Celtic Frost’s Tom G Warrior and artwork by underground artist Pushead (later famous for his work with Metallica), it was raw, energetic and uncompromising.
But then Hirax themselves were uncompromising. Where other metal bands turned left, they turned right. “A lot of bands were ‘evil’ – Mercyful Fate, Slayer,” says Katon. “That wasn’t Hirax’s deal. I love that stuff, but there was so much of it, we didn’t want to do it. We wanted to bring everybody together – metal kids, punks, grindcore freaks.”
They were principled in their own way, too. In 1984, they turned down the chance to appear on Welcome To Venice, a compilation put together by Suicidal Tendencies. Suicidal were the hottest hardcore band on the west coast, but their shows were plagued by gang violence.
“We loved the band, but we didn’t like the gang stuff,” says Katon. “If we’d been on that record, it would have said that we were part of it. Not that we were scared of it, we just thought it was stupid. Why do you want people bringing weapons into a gig? Thrashing’s enough.” (One of their songs, Destruction And Terror, did appear on another compilation, Anglican Scrape Attic, a 1985 flexi-disc compilation put together by Digby Pearson, founder of groundbreaking UK label Earache).
This determination to do what they wanted and screw everyone else played into the integrity that Katon talks about. But sometimes that integrity spilled over into self-defeating stubbornness.
“We were the punks of the label,” says Katon. “We wouldn’t stand around having our photo taken. Back then, we thought you were a poser if you did that. Now I’m, like, ‘Come on, lighten up.’”
Unsurprisingly, Hirax were wary of the ‘business’ side of the music business. This extended to the band essentially managing themselves. “There was interest, but when you‘re a young metal guy with a punk attitude, you’re like, ‘I don’t need that shit,’” says Katon. “We didn’t like being pushed around. It was a control thing – we didn’t want to be like other bands. Now I know there’s nothing wrong with it, but back then we were young and stubborn.”
They weren’t stubborn enough to prevent themselves being pressured into returning to the studio to record a follow up to Raging Violence. Their second album, 1986‘s Hate, Fear And Power, was a ferocious 16-minute burst of fury that owed as much to the emerging crossover scene as it did thrash.
“We were being rushed by the label to get some new product out.” says Katon. “They were saying, ‘Look what Slayer’s doing, they’re working really hard, putting out EPs and albums.’ That‘s why that record’s so short – we didn’t have the material.”
Label pressures aside, things looked to be going well for Hirax. They were working with Black Flag’s booking agency – independent, naturally – and gigging up and down the west coast. But cracks were beginning to appear.
“When a band starts getting popular, egos change, myself included,” says Katon. “You think you’re doing more than this other guy, the other guy doesn’t think you’re doing enough.
The drinking – our drug was alcohol – didn’t help. And I got more frustrated because Hirax was my baby.”
By 1987, it had gotten too dispiriting. “I just left. They tried to go on without me, but I think what happened is that there are certain guys in every band who do a lot of the work, and that was always my thing.”
Without Katon, Hirax fell apart. Their timing was lousy. Thanks to Master Of Puppets and Reign In Blood, thrash had become a genuine commercial force. If they had stuck it out, who know what might have happened.
“I don’t kick myself, because if you do that, you’ll spend your whole life kicking yourself,” he says. “But we should have kept goin
(Image credit: Katon W De Pena)
Post-Hirax, the singer formed the short-lived Phantasm with his old friend and ex-Metallica bassist Ron McGovney, Dark Angel drummer Gene Hoglan and, briefly, Suicidal Tendencies guitarist Rocky George. “If you blinked, you missed it,” he says. Once again, his refusal to play the game was part of the problem. “I always wanted to be underground. We got a lot of offers, but none of them felt right. We should have gone with them.”
By 1988, Phantasm were finished. Katon wasn’t done with music, but he was waking up to the fact that maybe there was something to be said for not constantly pushing against the music industry. “I said, ‘I gotta stop being a dumbass and learn the business,’” he says.
The passion for music which saw him delving into the NWOBHM as a kid and becoming involved in tape trading when Hirax were taking off was undimmed, but rather than slog it out in another band, he got a job in a record store to see how things worked from the other side of the fence. That led to a job at major label BMG. “Yeah, that was ironic, given how I was before,” he says. One of the bands he dealt with were Tool, around the time of 1992’s Opiate EP and 1993’s Undertow album.
“I was there when they recorded Sober,” he says. “It was amazing seeing that whole thing take shape and grow.” Maynard James Keenan liked him because he was the most hardcore person in the BMG office. “He’d come over and go, ‘You like The Jesus Lizard?’ And I’d go, ‘Yeah, they’re one of my favourite bands.’”
Katon W De Pena in full flight (Image credit: Katon W De Pena)
By the late 90s, he’d started his own label, Junk Records, signing kick-ass punk-metal bands like Zeke and Electric Frankenstein. It was a hand-to mouth operation – he wanted to sign Turbonegro and Nashville Pussy but “didn’t have the money, and it wasn’t a lot, only $5000.”
People would occasionally come up to him and ask him if he was Katon from Hirax, but he didn’t miss his old band. There was no talk of reuniting. “Everyone had gotten married and had kids. I was the only one that was still involved in the music scene,” he says.
That changed when he met the woman who became his wife, Anne. Her band, X-It, were playing a club he was booking gigs for. “I thought she was really cool, but I was so nervous that I‘d never try anything. I didn’t want to freak her out,” he says, laughing. “One day she put her hand on my leg. I thought, ‘Well, I guess she likes me.’”
Anne was at Katon’s house when she found a box full of letters. It was old Hirax fanmail. “She started reading the letters: ‘Are you kidding, people really love your music.’” She burned Hirax’s albums onto CDs and put 5000 of them on a website. “She sold them all,” says Katon proudly.
It was enough to convince him to resurrect Hirax. They returned with 2000’s blazing El Diablo Negro EP, also featuring Raging Violence-era bassist Gary Monardo and drummer John Tabares, plus guitarist Greg Eickmier. That line-up didn’t last, but Hirax did. Since their return, they’ve released three albums (2004’s The New Age Of Terror, 2009’s El Rostro de la Muerte and 2014’s Immortal Legacy), plus a string of EPs and splits.
“I never thought what is happening with the band would be going on now,” he says. “I’m a lot more focussed than I was when I was in my 20s. I never thought I‘d be the guy sitting here saying that. I never thought I’d be alive this long.”
Even away from the band, Katon stays involved in music. He spent five years DJing at famed Sunset Strip hangout the Rainbow Bar & Grill. He and Anne launched the campaign to raise money for the statue of Lemmy that stands in the outdoor drinking area.
HIRAX “Relentless” Official Video from “Faster Than Death” album 2024 – YouTube
“It was just paying him back,” he says proudly. “Any thrash guy, we all owe Lemmy and Motörhead a debt. There were no rock stars involved in that. It was all donated by Motörhead fans around the world. You cannot piss Motörhead fans off.”
There’s a new Hirax album on the way. Titled Faster Than Death, it‘s set for released in November. Katon’s massively vibed up about it, not least because of the involvement of legendary producer Max Norman, famous for his work on Ozzy Osbourne’s first two solo albums. “And Y&T’s Black Tiger and Megadeth’s Countdown To Extinction,” he adds, ever the connoisseur. “We funded this album ourselves, which is why I thought he’d say no. He’s got major integrity to take on a band like Hirax.”
It’s that word again: integrity. Katon W. De Pena may have shaken off some of the stubbornness that got in the way first time around, but that core value remains.
“I want to do things my way – it’s my biggest problem and my biggest strength,” he says. “It’s not the perfect way to live – maybe I’d have more money than I do now if I hadn’t been so stubborn. But that’s not what it’s about. It’s about doing what you want to do and giving people that. Stay true to yourself and to your music. Integrity matters.”
Hirax play the London Islington Academy on August 12 and Plymouth Junction on August 13. Faster Than Death will be released on November 1 via Armageddon Records
Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on Kerrang! and Classic Rock, Associate Editor on Q magazine and staff writer/tea boy on Raw, not necessarily in that order. He has written for Metal Hammer, Louder, Prog, the Observer, Select, Mojo, the Evening Standard and the totally legendary Ultrakill. He is still waiting for Billy Gibbons to send him a bottle of hot sauce he was promised several years ago.
Vince Gill understands that a huge loss preceded his arrival in the Eagles lineup. It’s something he’s long lamented following the 2016 death of Eagles stalwart Glenn Frey.
There’s “just gratitude that I was the guy they decided would work,” Gill said not long after joining the group. “Just that – because Glenn was a great friend, and in my heart of hearts I wish I wasn’t doing it. That would mean Glenn would still be around, but life is what it is and you just go do what you can do because of what happens. Those songs deserve to live on as long as they can.”
For some, Frey’s passing seemed like a natural endpoint for the group – and surviving co-founder Don Henleyinitially indicated that he agreed. “I don’t see how we could go out and play without the guy who started the band,” Henley said a few months after Frey died. “It would just seem like greed or something. It would seem like a desperate thing.”
By the time the Classic East and Classic West music festivals were announced the following year, however, Henley had changed his mind. He confirmed an Eagles rebuild with the addition of Frey’s son, Deacon, and hinted at another new hire. “Since it’s Glenn’s blood, it’s his son, I think that’s appropriate,” Henley mused back then.
The final piece of the puzzle turned out to be Gill, a long-standing country solo star who rose to initial fame singing Pure Prairie League’s Top 10 1980 hit “Let Me Love You Tonight.” That seems to have played a key role in Henley’s decision-making.
Listen to Vince Gill With Pure Prairie League
Vince Gill Makes New Fans With Eagles
Early into his tenure, Henley was asked to explain Gill’s presence. “He smiled and said, ‘Because he knows how to be in a band,'” Gill tells American Songwriter in a new interview. “That was just such a beautiful validation.”
In the years that followed, Gill earned scores of new fans with his determination to recreate Eagles songs – including “Tequila Sunrise,” “Take It to the Limit,” “New Kid in Town” and “Lyin’ Eyes” – just as they had been written and recorded. (Gill has also consistently enthused about a number of other Eagles songs, including “Peaceful Easy Feeling” and “I Can’t Tell You Why,” the latter of which he covered in 1993 on Common Thread: The Songs of the Eagles.)
“I don’t have to have the attention; I don’t have to have the spotlight,” he admits to American Songwriter. “I don’t have to do all the talking. It’s proven to me that it doesn’t really matter what role you have, just as long as what you’re trying to do is make it better. That’s what I like.”
Feature Photo: Grutness, CC BY-SA 3.0 , via Wikimedia Commons
The Chills were formed in Dunedin, New Zealand as part of the “Dunedin Sound” movement that emerged in the early 1980s. Formed by singer-songwriter Martin Phillipps in 1980, The Chills are known for their jangly guitar sound, complex lyrics, and lush production. The band’s lineup has seen numerous changes over the years, with Phillipps as the constant member, guiding the group through its musical explorations.
The Chills released their first full-length album, Brave Words, in 1987. To date, they have released seven studio albums, including critically acclaimed works such as Submarine Bells in 1990, which featured the hit single “Heavenly Pop Hit.” This track brought them international fame and peaked at number 2 on the New Zealand singles chart. Their follow-up albums like Soft Bomb in 1992 and Silver Bullets in 2015 continued to receive positive reviews, though they did not achieve the same level of commercial success as Submarine Bells. The band has also released a number of live albums and compilations, contributing to their status as a cult favorite.
The Chills’ influence extends beyond their immediate success, with their music impacting various artists across genres. Despite experiencing setbacks, including health issues for Phillipps and numerous changes in the band’s lineup, The Chills have maintained a consistent presence in the music scene. Their ongoing contribution to music was highlighted by Martin Phillipps’ receipt of the Independent Music New Zealand Classic Record award in 2014 for Brave Words. Throughout their career, The Chills have remained beloved for their unique sound that blends pop melodies with introspective and often melancholic lyrics, making them a foundational act in New Zealand’s music history.
Megadeth are currently bringing their iconic live show to North America with a 33-city, nationwide tour, Destroy All Enemies, produced by Live Nation. On August 9th they peformed at the YouTube Theater in Inglewood, CA, and during their set they played “Liar” – taken from So Far, So Good… So What? – for the first time since 2006. Check out fan-filmed video below.
Setlist:
“The Sick, The Dying… And The Dead!” “Dread And The Fugitive Mind” “Wake Up Dead” “In My Darkest Hour” “Hangar 18” “Sweating Bullets” “Liar” (first time performed since 2006) “Skin O’ My Teeth” “Angry Again” “She-Wolf” “Countdown To Extinction” “The Conjuring” “Trust” “Tornado Of Souls” “We’ll Be Back” “Symphony Of Destruction”
Encore: “Mechanix” “Peace Sells…”
Encore 2 “Holy Wars… The Punishment Due”
Destroy All Enemies US tour dates:
August 12 – Auburn, WA – White River Amphitheatre 13 – Bend, OR – Hayden Homes Amphitheater 16 – Las Vegas, NV – Bakkt Theatre at Planet Hollywood 17 – Salt Lake City, UT – Maverick Arena* 20 – Irving, TX – The Pavilion at Toyota Music Factory 21 – Austin, TX – Germania Insurance Amphitheater 23 – Macon, GA – Atrium Health Macon Amphitheater* 24 – West Palm Beach, FL – IThink Financial Amphitheatre
September 3 – Tinley Park, IL – Credit Union 1 Amphitheatre 5 – Huntington, WV – Marshall Health Network Arena* 6 – Charlotte, NC – PNC Music Pavilion 7 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek 9 – Reading, PA – Santander Arena* 10 – Albany, NY – MVP Arena* 11 – Boston, MA – Leader Bank 13 – Bethel, MY – Bethel Woods Center For The Arts 14 – Wantagh, NY – Northwell Health at Jones Beach Theater 15 – Richmond, VA – Virginia Credit Union Live!* 17 – Cincinnati, OH – Riverbend Music Center 18 – Pittsburgh, PA – Stage AE 20 – Noblesville, IN – Ruoff Music Center 21 – Clarkston, MI – Pine Knob Music Theatre 24 – Minneapolis, MN – The Armory 26 – St Louis, MO – Hollywood Casino Amphitheatre STL 27 – Southaven, MS – Bankplus Amphitheater at Snowden Grove* 28 – Nashville, TN – Nashville Municipal Auditorium
Pretties for You was Alice Cooper’s debut studio album, introducing their blend of psychedelic rock and experimental music. The album reflects the band’s early artistic experiments and set the stage for their later, more theatrical direction. It was largely unnoticed in the Billboard charts at its release, showcasing a raw and unrefined sound that hinted at the band’s potential.
The album featured Alice Cooper on vocals, Glen Buxton on lead guitar, Michael Bruce on rhythm guitar and keyboards, Dennis Dunaway on bass guitar, and Neal Smith on drums. Pretties for You was produced by Alice Cooper and recorded at Whitney Studios in Burbank, California, in 1968.
Easy Action is the second studio album by Alice Cooper, marking a slight shift towards a more accessible rock sound compared to their debut. Like its predecessor, it did not achieve significant commercial success upon release but has since been appreciated for its early signs of the band’s evolving style.
Recorded at RCA’s Music Center of the World in Hollywood, California, in late 1969, the album was produced by David Briggs. The lineup remained the same as their debut.
Love It to Death is the third studio album by Alice Cooper and represents a critical breakthrough for the band, featuring their first hit single “I’m Eighteen.” The album’s commercial success helped cement the band’s reputation as a major act in rock music, peaking at number 35 on the Billboard 200 chart.
Produced by Bob Ezrin, who played a crucial role in developing their classic sound, Love It to Death was recorded at RCA Mid-American Recording Center, Chicago, Illinois, in late 1970. This album features more cohesive and potent rock songs, establishing a foundation for their future theatrical shock rock style.
Killer is the fourth studio album by Alice Cooper, released in the same year as Love It to Death. This album continues the band’s successful collaboration with producer Bob Ezrin, featuring a mix of hard rock and horror-themed theatricality that became their trademark. The album includes hits such as “Under My Wheels” and “Be My Lover,” contributing to its peak at number 21 on the Billboard 200.
Recorded at RCA Studios in Chicago, Illinois, Killer solidifies Alice Cooper’s image as rock’s premier shock performer.
School’s Out is one of Alice Cooper’s most iconic albums, driven by the anthemic title track that remains a staple in rock music and a celebration of teenage rebellion. The album captured the spirit of its era and significantly boosted Alice Cooper’s popularity, peaking at number 2 on the Billboard 200 chart. This success marked a turning point, establishing the band as major rock stars.
Produced by Bob Ezrin, the album was recorded at The Record Plant in New York City in early 1972. Its blend of hard rock and theatrical shock rock elements helped define Alice Cooper’s style.
Billion Dollar Babies is Alice Cooper’s best-selling album, reaching number 1 on the Billboard 200 and solidifying their position at the forefront of rock music. Featuring a slew of guest musicians, including Donovan and Steve Hunter, the album is known for its hit singles “Billion Dollar Babies,” “Elected,” and “No More Mr. Nice Guy.” The album’s lyrical themes revolve around the dark side of wealth and fame, critiquing the excesses of rock stardom with Cooper’s characteristic blend of irony and humor.
Recorded at several locations including Morgan Studios in London and The Record Plant in New York, the album was produced by Bob Ezrin during the latter part of 1972. It is celebrated for its innovative production and theatrical flair.
Muscle of Love, the last album recorded by the classic Alice Cooper band lineup, represents a departure from their previous collaboration with producer Bob Ezrin. This album returns to a more basic rock sound, eschewing the elaborate theatrical concepts of their earlier works but maintaining strong storytelling and characteristic dark humor. Songs like “Muscle of Love” and “Teenage Lament ’74” reflect on adolescence and identity.
Produced by Jack Richardson and Jack Douglas, Muscle of Love was recorded at Sunset Sound and Western Recorders in Hollywood, California. The album reached number 10 on the Billboard 200, showing a solid performance but not matching the chart-topping success of its predecessors.
Welcome to My Nightmare marks Alice Cooper’s first solo album after the disbandment of his original band. This album is a conceptual and theatrical release, telling the story of a child named Steven and his surreal and frightening dreams. It is considered one of Cooper’s most celebrated albums, featuring the hit “Only Women Bleed” and reaching number 5 on the Billboard 200 chart.
Produced by Bob Ezrin, the album was recorded at Soundstage in Toronto, Canada, with additional sessions at Electric Lady Studios in New York City and the Record Plant in Los Angeles. The album was noted for its cinematic scope and ambitious production.
Alice Cooper Goes to Hell is the second solo album by Alice Cooper, following the thematic style of its predecessor with another concept album that explores themes of damnation and redemption. It includes hits such as “I Never Cry” and “Go to Hell,” reaching number 27 on the Billboard 200.
Produced again by Bob Ezrin, the album was recorded at various locations, including the Soundstage in Toronto and the Record Plant in Los Angeles. It continued the theatrical rock style that Cooper had become famous for.
Lace and Whiskey depicts Alice Cooper as a heavy-drinking private eye and includes more of a cabaret and cinematic approach compared to his earlier albums. The album features the hit “You and Me,” and achieved moderate success, reaching number 42 on the Billboard 200.
Produced by Bob Ezrin, the album was recorded at the Cherokee Studios in Los Angeles, California. The album moves away from Cooper’s traditional shock rock genre into a more eclectic and theatrical style.
From the Inside is a semi-autobiographical concept album focusing on Alice Cooper’s stay in a New York sanitarium to recover from his alcoholism. With contributions from Bernie Taupin, the album includes singles like “How You Gonna See Me Now,” reaching number 60 on the Billboard 200.
The album was produced by David Foster and recorded at the Davlen Sound Studios and Cherokee Studios in Los Angeles, California. It features a softer rock sound and deeply personal lyrics.
Flush the Fashion marked a shift towards a new wave style, featuring a shorter, more polished sound. Singles like “Clones (We’re All)” brought Alice Cooper into the era of 80s synth-pop. The album reached number 44 on the Billboard 200, showcasing a different side of Cooper’s musical personality.
Produced by Roy Thomas Baker, the album was recorded at Cherokee Studios in Los Angeles, California. This album highlights Cooper’s adaptability to new musical trends and his willingness to experiment with different sounds.
Special Forces continues Alice Cooper’s exploration of new wave and rock, featuring a militaristic theme and more synthesized sounds. The album did not achieve significant chart success, reflecting a period of lesser commercial visibility for Cooper.
Produced by Richard Podolor, the album was recorded at the Amigo Studios in North Hollywood, California. It includes tracks that emphasize a tougher, more synthesized rock sound, aiming to blend traditional rock elements with emerging 1980s musical styles.
Crocodiles is the debut studio album by Echo and the Bunnymen, marking their entrance into the post-punk scene with its atmospheric and melancholic sound. The album quickly became a critical success and established the band as one of the pioneering acts of the post-punk movement.
The band consisted of Ian McCulloch (vocals), Will Sergeant (guitar), Les Pattinson (bass), and Pete de Freitas (drums). The album was produced by Bill Drummond and David Balfe, with additional production by Ian Broudie. It was recorded at Rockfield Studios in Monmouth, Wales, during late 1979 and early 1980.
CD Track Listings:
“Going Up” – 3:56
“Stars Are Stars” – 2:47
“Pride” – 2:41
“Monkeys” – 2:49
“Crocodiles” – 2:40
“Rescue” – 4:26
“Villiers Terrace” – 2:44
“Pictures on My Wall” – 2:53
“All That Jazz” – 2:48
“Happy Death Men” – 4:58
Heaven Up Here
Released: May 30, 1981
Heaven Up Here, the second album by Echo and the Bunnymen, continued to build on the dark, swirling post-punk sound of their debut. This album delved deeper into the atmospheric and brooding textures that defined their music, receiving widespread acclaim and solidifying their reputation in the UK and abroad.
Produced by Hugh Jones, the album showcased a more polished sound and was recorded at Rockfield Studios in Monmouth, Wales, in early 1981. It charted in the UK, reaching number 10 on the Albums Chart, signifying the band’s rising popularity.
CD Track Listings:
“Show of Strength” – 4:50
“With a Hip” – 3:16
“Over the Wall” – 5:59
“It Was a Pleasure” – 3:14
“A Promise” – 4:08
“Heaven Up Here” – 3:45
“The Disease” – 2:28
“All My Colours” – 4:06
“No Dark Things” – 4:27
“Turquoise Days” – 3:51
“All I Want” – 4:09
Porcupine
Released: February 4, 1983
Porcupine is the third studio album by Echo and the Bunnymen. The album features a more expansive approach with string arrangements and a somewhat more upbeat sound, though still deeply rooted in the band’s atmospheric signature style. The album includes the hit single “The Cutter” which helped boost the band’s profile significantly.
Produced by Ian Broudie and the band, Porcupine was recorded at Trident Studios in London, England, in late 1982. The album reached number 2 on the UK Albums Chart, marking their highest position to date.
CD Track Listings:
“The Cutter” – 3:54
“The Back of Love” – 3:16
“My White Devil” – 4:40
“Clay” – 4:15
“Porcupine” – 6:00
“Heads Will Roll” – 3:33
“Ripeness” – 4:50
“Higher Hell” – 5:00
“Gods Will Be Gods” – 5:24
“In Bluer Skies” – 4:32
Ocean Rain
Released: May 4, 1984
Ocean Rain is often considered the masterpiece of Echo and the Bunnymen, featuring lush orchestration combined with their trademark haunting melodies. The album includes the iconic track “The Killing Moon,” which remains one of their most celebrated songs. Ocean Rain showcased a maturation of the band’s sound and lyrical depth.
Produced by Ian Broudie, the album was recorded at Les Studios des Dames in Paris, France, and at Crescent Studio in Bath, England, during late 1983 and early 1984. The album reached number 4 on the UK Albums Chart and has been widely regarded as one of the greatest albums of the 1980s.
CD Track Listings:
“Silver” – 3:22
“Nocturnal Me” – 4:58
“Crystal Days” – 2:24
“The Yo Yo Man” – 3:11
“Thorn of Crowns” – 4:52
“The Killing Moon” – 5:46
“Seven Seas” – 3:20
“My Kingdom” – 4:06
“Ocean Rain” – 5:18
Echo & the Bunnymen
Released: July 6, 1987
Echo & the Bunnymen, often referred to as the self-titled album, marked a significant point in the band’s career, blending a mix of melancholy and mainstream pop sensibilities. This album includes popular tracks like “Lips Like Sugar” and “The Game,” which helped maintain the band’s presence in the charts during a period of transition.
Produced by Laurie Latham, the album was recorded at Conny’s Studio in Cologne, Germany, and ICP Studios in Brussels, Belgium in early 1987. It reached number 4 on the UK Albums Chart and solidified their status in the alternative rock scene.
CD Track Listings:
“The Game” – 3:50
“Over You” – 4:01
“Bedbugs and Ballyhoo” – 3:28
“All in Your Mind” – 4:32
“Bombers Bay” – 4:22
“Lips Like Sugar” – 4:52
“Lost and Found” – 3:37
“New Direction” – 4:44
“Blue Blue Ocean” – 5:07
“Satellite” – 3:03
“All My Life” – 4:07
Reverberation
Released: December 10, 1990
Reverberation is the sixth studio album by Echo and the Bunnymen and the first without founding member Ian McCulloch. This album, featuring Noel Burke as the new vocalist, took a different direction with its sound and was met with mixed reviews. It represents a transitional period in the band’s history, experimenting with new vocal styles and musical arrangements.
The album was produced by Geoff Emerick and recorded at The Workhouse, London, and Amazon Studios, Liverpool, in 1990. While it did not achieve the same commercial success as previous albums, it reached number 11 on the UK Albums Chart.
CD Track Listings:
“Gone, Gone, Gone” – 4:16
“Enlighten Me” – 5:01
“Cut and Dried” – 4:05
“King of Your Castle” – 4:23
“Devilment” – 5:13
“Thick Skinned World” – 4:21
“Freaks Dwell” – 4:46
“Senseless” – 5:05
“Flaming Red” – 5:40
“False Goodbyes” – 4:35
Evergreen
Released: July 14, 1997
Evergreen marked the return of Ian McCulloch and the revitalization of the band’s classic sound, blending their traditional post-punk roots with contemporary influences. The album was well-received, signifying a successful comeback with singles like “Nothing Lasts Forever” resonating with both old and new fans alike.
Produced by Echo and the Bunnymen with additional production by Jon Kelly, Evergreen was recorded at Doghouse Studios, Henley-on-Thames and Abbey Road, London in early 1997. The album reached number 8 on the UK Albums Chart.
CD Track Listings:
“Don’t Let It Get You Down” – 3:50
“In My Time” – 3:24
“I Want to Be There (When You Come)” – 3:39
“Evergreen” – 4:05
“I’ll Fly Tonight” – 4:23
“Nothing Lasts Forever” – 3:56
“Baseball Bill” – 4:04
“Altamont” – 3:47
“Just a Touch Away” – 5:07
“Empire State Halo” – 3:58
“Too Young to Kneel” – 3:39
“Forgiven” – 5:47
What Are You Going to Do with Your Life?
Released: April 16, 1999
What Are You Going to Do with Your Life? continued the more introspective and mature sound introduced in Evergreen. This album features orchestral arrangements and thoughtful lyrics, focusing on themes of reflection and existential questioning. The subdued and melodic approach contrasted with their earlier, more energetic work.
This album was recorded at various locations including AIR Studios in London and was produced by Echo and the Bunnymen with additional input from Pete Coleman. It reached number 21 on the UK Albums Chart.
CD Track Listings:
“What Are You Going to Do with Your Life?” – 5:11
“Rust” – 5:24
“Get in the Car” – 4:20
“Baby Rain” – 4:17
“History Chimes” – 3:25
“Lost on You” – 4:49
“Morning Sun” – 4:06
“When It All Blows Over” – 3:17
“Fools Like Us” – 4:02
Flowers
Released: May 14, 2001
Flowers marked another phase in the band’s evolving sound, mixing their iconic atmospheric elements with modern rock influences. This album contains a collection of melancholic songs that showcase the band’s ability to blend moody lyrics with vibrant musical arrangements.
Recorded at the Elevator Studios in Liverpool and produced by Ian McCulloch and Will Sergeant, Flowers reached number 56 on the UK Albums Chart, illustrating the band’s sustained ability to engage their audience despite the ever-changing musical landscape.
CD Track Listings:
“King of Kings” – 4:24
“SuperMellow Man” – 4:58
“Hide & Seek” – 4:06
“Make Me Shine” – 3:52
“It’s Alright” – 3:27
“Buried Alive” – 3:57
“Flowers” – 4:15
“Everybody Knows” – 4:37
“Life Goes On” – 3:52
“An Eternity Turns” – 3:51
“Burn for Me” – 3:38
Siberia
Released: September 20, 2005
Siberia is a return to form for Echo and the Bunnymen, featuring a robust blend of haunting melodies and sharp, engaging lyrics that recall the band’s early successes. The album was critically acclaimed for its energetic delivery and classic sound, reinforcing the band’s place in the post-punk and alternative rock pantheon.
Produced by Hugh Jones, who had previously worked on Heaven Up Here, the album was recorded at Parr Street Studios in Liverpool. Siberia peaked at number 83 on the UK Albums Chart.
CD Track Listings:
“Stormy Weather” – 3:03
“All Because of You Days” – 3:36
“Parthenon Drive” – 3:36
“In the Margins” – 3:49
“Of a Life” – 3:38
“Make Us Blind” – 3:58
“Everything Kills You” – 4:17
“Siberia” – 4:55
“Sideways Eight” – 3:03
“Scissors in the Sand” – 3:17
“What If We Are?” – 5:05
The Fountain
Released: October 12, 2009
The Fountain showcases a continued evolution in the band’s sound, characterized by more upbeat and accessible songs that feature catchy hooks and optimistic lyrics. The album’s vibrant energy and melodic strengths highlighted a band that remained creatively active and willing to explore new directions.
Produced by John McLaughlin, the album was recorded at the Motor Museum in Liverpool. The Fountain reached number 48 on the UK Albums Chart.
CD Track Listings:
“Think I Need It Too” – 3:38
“Forgotten Fields” – 3:42
“Do You Know Who I Am?” – 2:52
“Shroud of Turin” – 3:55
“Life of a Thousand Crimes” – 3:21
“The Idolness of Gods” – 4:22
“The Fountain” – 4:01
“Everlasting Neverendless” – 3:09
“Proxy” – 3:07
“Drivetime” – 3:52
“The Idolness of Gods” – 4:22
Meteorites
Released: May 26, 2014
Meteorites, the twelfth studio album by Echo and the Bunnymen, delivers a collection of introspective and emotionally charged songs, reaffirming the band’s mastery of blending atmospheric soundscapes with lyrical depth. The album was seen as a continuation of their reflective and mature phase.
Produced by Youth, known for his work with numerous successful bands, the album was recorded at various locations including London and Liverpool. Meteorites peaked at number 37 on the UK Albums Chart.
The Stars, the Oceans & the Moon is an album that features new perspectives on the band’s classic songs, alongside a few new tracks. This project was an opportunity for the band to revisit their extensive catalog with fresh arrangements and updated production, often incorporating orchestral and acoustic elements.
Produced by Echo and the Bunnymen, the album was recorded at the Doghouse Studios in Henley-on-Thames and Vale Studios in Worcestershire. It achieved a peak position of number 11 on the UK Albums Chart, showcasing the enduring appeal of the band’s music.