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Contributing to environmental conservation and restoration across the globe

London, UK, 31st May 2022 – Orange Learn (part of Orange Amplification), a global music education provider leading the way in the use of sustainable learning and assessment methods, has today announced a partnership with One Tree Planted, who are working to restore forests and rebuild habitat globally. For every course purchased, Orange Learn will plant one tree.

Photo by Ben Hemmings.

 “Sustainability and environmental awareness is at the very heart of what we do at Orange Learn. Our revolutionary approach to learning music and taking exams online was deliberately developed to help reduce carbon emissions and paper wastage. We are always looking for ways to deepen our commitment to sustainability and our partnership with One Tree Planted is one of many ways we plan to join the global effort to protect our planet.” [Cliff Cooper, Founder, Orange Amplification]

The objectives of this new partnership include:

·        Raising awareness of deforestation and habitat loss

·        Supporting a key global reforestation initiative

·        Giving our customers an opportunity to further contribute to sustainability as they learn

 

This partnership is designed to make it easy for  customers to contribute to global reforestation and a sustainable future. For every music course purchased from Orange Learn’s website, Orange Learn will donate $1 to “One Tree Planted” to plant one tree. The trees are planted by local partner organisations and community volunteers in areas where there has been deforestation. To learn more about this partnership, please visit https://www.orangelearn.com/one-tree-planted/

Orange Amplification is delighted to add VENOM INC and former ATOMKRAFT frontman TONY “THE DEMOLITION MAN” DOLAN to its artist roster. Dolan recently announced a new album with VENOM Inc, due on 23 September 2022 through Nuclear Blast Records.

Says Dolan:
I use my Bo-El Big Generator basses which are pure power with the right touch of finesse but as I’m the Demolition Man I need that overwhelming punch that only the combination of Orange and my Bo-El can deliver… To become a proud Orange artist is beyond my words except to say I’m honoured to represent old-school & new-school values wrapped in the harmonious and sustainable weight and power torque of Orange! The skies are now literally not the limit!

Says Orange:
Tony recently joined the Orange roster as an official ambassador, and we are thrilled to be working with him and supporting him and VENOM INC both on the road and in the studio.’ – Orange Global A&R Manager Ella Stormark

Tony is using the AD200 & OBC810, and you can find his artist profile here.

Full press release via Lords of Metal can be found here.

Orange Jams is a series of live sessions hosted by Orange & Jam in the Van which features Orange ambassadors from across the globe. This session features Orange Ambassador Grandma’s Ashes, live from their studio in Paris.

I’m not going to lie, the pandemic sucked most of fun out of my A&R role here at Orange, as my day became primarily emails, spreadsheets, and existential dread, so it might not come as a surprise that I am mentally jumping with joy about the return of live music, and everything that goes with it. This Thursday just gone I had the pleasure of witnessing the pure force of one of our 2021 signings; Swedish rock’n’roll connoisseurs The Hellacopters play at Sentrum Scene in Oslo.

Having recently released their latest album Eyes of Oblivion (their first release in 14 years!) through Nuclear Blast Records, the return of The Hellacopters was long awaited, and even more so considering the show had been re-scheduled several times over the past two years. Finally, it was Oslo’s turn to boogie!

As the house lights dimmed and the band took the stage in front of a sold-out crowd, guitarist Dregen hobbled across on crutches with his right leg in a big plastic boot, before sitting down on an Orange PPC212V, which doubled amazingly as a chair (what a selling point!), and powered through the set like an absolute champ despite most likely being in excruciating pain, which is 400% badass in my eyes. As we all know, the show must go on, and go on it did.

Backed by three TH30 heads, one Super Crush 100 head and four PPC212V cabs, the band sounded absolutely huge as they took us on a musical journey from their High Visibility heyday through to recent singles from Eyes of Oblivion, as well as covers of Roky Erickson’s Night of the Vampire and the Ramones’ I Just Want to Have Something to Do. This of course led to some audience members excitedly hurling their pints in the air, which, considering alcohol prices in Norway, we can all agree is pure madness. If you ask me, those drops should be cherished as if they were tapped from the fountain of youth by Zeus himself.

At the end of the night, The Hellacopters had proved repeatedly why they are one of the best rock’n’roll bands of the 21st century. We’ll have some more exciting Hellacopters news coming your way soon, so keep your eyes peeled and sign up to our newsletter (at the bottom of our main page) for further updates.

BY DARAGH MARKHAM

Fresh conscripts from our sister pubs clock in. Actually, most of them are volunteers — naïve sadists with an expectant gleam in their eye. Sorry dude, there’s only one wristband on bar. Take a number and get in line, because you’re not catching Truckfighters. You’re standing here for the next nine hours, getting intimately familiar with how to pour a Hells. An urgent care package of Modelos is brought in from a nearby corner shop, as staff, some Desertfest team members, and a few customers have drunk through the entire weekend’s supply already. A customer grabs my arm. “Man, I saw your set at the Underworld yesterday — that was fucking nuts, your guitar must be totalled!” Yesterday feels like a hundred days ago. We played mid-afternoon, before the drummer and I, both ranking warriors of Camden bars, hightailed it back to start/resume our Desertfest shifts. One eye on the customer, the other toward the taps. “Yeah that was actually pretty much inadvertent, the guitar smashing…” I reply. It wasn’t my guitar either so, I won’t be hearing the end of that. Wonder what I can break next year.

Another customer is complaining about the toilets, reminding me of a recent review. We never really read reviews of the bar (as Larry David says, “the customer is usually a moron and an asshole”), but this one was great. Besides whining about the smell of our (a rock bar) toilets, the author referred to one of the staff as “Satan’s idiot”, which left one obvious thing to do: get cut-offs with Hells Angels-style back patches made up saying SATAN’S IDIOTS, for every member of staff. That this wasn’t achieved in time for Desertfest will forever be my shame. Eighteen hours in one place, doing one thing, listening to (essentially) one riff will either send you mad or grant you a sense of Zen you never thought possible. (For days after, I will lie in bed waiting to fall asleep, calves screaming, my mind endlessly flashing, locked into the mechanism of pouring pint after pint after pint like an automaton, the main riff of Sleep’s Dragonaut haunting my head in an infinite loop). The shifts follow similar patterns, and when the day’s headliners take the stages of the bigger venues, the bar clears out for awhile. This reprieve is spent with frantic smoking/drinking, before more prepping, stocking, reloading.

The final offensive will hit us soon — the bestial midnight raids of the afterparty. Actually, “siege” would be the more appropriate term. One bartender likens it to the relentless blitz of Call of Duty’s Nazi zombies, with the platoon pinned down, cornered behind the bar, weaving and dodging and sidestepping around each other, pouring pints with one hand, making spirit ’n’ mixers with the other, taking change with our mouths (pre-covid). The faces of customers become interchangeable bearded blurs. Your ears ring like after a bomb blast, fingers whittle into numb stumps from hammering orders into the till screen. Legs beg you to stop. Have another shot, keep going. This is the final push. If you can’t find a rhythm, you lock into crushkilldestroy mode: no logic, no order, just serve the first person you see after every completed order. My personal record is making over three grand’s worth in one day, and that was when we flirted with 10-hour “easy” shifts one year, so God knows what I rack up on a day like today. The bar is packed, the party heaving, the whole room one single, multi-limbed, multi-bearded organism. DJs are deafening — orders for cider result in soda and confusion. Regular Mat buys the whole 10-strong staff a round of top-shelf tequila, a much-needed and appreciated bolstering of our defences.

With the unexpected May heat and so many people in, our weathered cooler gives up and dies. The fan units out the back of the building pump out piping Saharan air. The beer starts pouring as pure foam in a bar full of pint-hungry maniacs. What can they be appeased with? The Modelos are long gone. Bongripper soundtracks our endless descent into ruin. Finally, at 3 am, we clean down the bar to Darude’s Sandstorm, because surely this should be the anthem of a festival with “Desert” in its moniker, and after a full, uninterrupted day of doom and stoner blasting through the PA and roaring from the venue, you need pop music. Hip hop. Fucking Dido (ok, not Dido). Exhausted, you stand at the toilet, jeans and boxers peeled midway down your thighs, pissing free and airing out your region. You look down to discover you are pissing directly into your yanked-down boxers, which have become a sort of piss-cradle. You are too tired to do anything about it, and just keep pissing. After all, you have survived a full Thursday–Sunday Desertfest. You are kept buoyant by the achievement. Tomorrow you will awake broken. Tonight, you will slumber victorious, knowing you will do it all again next year.

But right now, it’s time for the best-tasting beer you have ever earned. Dixie Dave is roaming the bar in a determined daze, clutching a large inflatable giraffe/camel. I’m drunk enough to get over myself and grab him and apologise for being one of those annoying, demanding fans, but something has been bugging me for years and I need to know: the burning American flag on …And Justice For Y’all’s cover art, the lyrics in Jason… The Dragon (“Abandon ship, and burn that goddamn flag… burn that fucking flag”), among other anti-American sentiment sprinkled throughout their recorded output — that’s pretty ballsy stuff, coming from shitkicking North Carolina… Dixie explains he’s always been a punk, and those things are just an extension of his skateboarding, anti-authoritarian origins, and some other rapid, rasping, guttural mutterings I can’t decipher. Then, straight-faced, he says to me, without a hint of irony, “Y’know, Weedeater… I don’t get why people think we’re a stoner band”.

Daragh Markham has worked, attended and performed at Desertfest many times over the years, sometimes all at once. He’ll play with D-beat speed metal hellions Dungeon at this year’s edition.

BY DARAGH MARKHAM

Let’s get one thing clear: if you can survive a weekend working the bar at Desertfest, you can work a bar anywhere, in any situation. Forget other festivals. You can sling pints on deck as the Titanic sinks. You can line up shots while a mushroom cloud courtesy of Putin/Biden/Kim Jong-fucking-un towers in the distance (customers irradiated before your very eyes, what a sight that must be…). But I’m drifting.

So it starts like this: you wake up, legs still aching. You’ve only shut your eyes a minute and now you’re on your feet again, slouching back to the front. At least you didn’t follow your colleagues to their spontaneous Slimelight afterparty (they’ll roll in soon, sicker than Mike IX Williams in withdrawal during Hurricane Katrina).

At the bar, every morning of Desertfest begins with the keg hustle. How much beer does the focal point of a festival need each day? About as much as Matt Pike loves aliens — lots. You’re rolling, stacking, lifting, packing an inordinate number of kegs, the tiny cold room filled to the rafters as your frazzled brain plays keg Tetris trying to organise it all while you sweat out yesterday’s regret.

It’s like war prepping, strategising every bit of space before another full-day assault. They rinsed us of that peach sour beer yesterday — gonna need to push something fruity to the front today… Fortify yourself with a couple Bloody Mary shots and a Modelo for breakfast. You’ll need it. For today be Saturday. Or is it Sunday? Forget it. Eighteen-hour shifts don’t require day names — they all spell insanity anyway.

It’s May in England and this year, miraculously, it’s not raining. Throngs accumulate in the alley out front, allowing air into the bar. By midday, the venue upstairs reeks of beer, bud, BO and beard. The volume is unreal. It’s way past capacity up there, a line of people snaking out and down the stairs, all looking to the venue door, where all you can see is the backs of heads. The body heat and smoke-machine dry ice hang in the stagnant air like mist from a Hammer Horror film. Oh, for a big-titted vampiress to take me now.

Those too late to get upstairs congregate around the bar. Acid casualties. Serial defecators. Curious out-of-towners demanding round after round of Bloody Mary shots. Space cadets reeling from obscene amounts of weed/shrooms/beer/acid demand they be looked after by your staff (this is the second consecutive year this happens).

Time gamblers cling to the bar, gripped by the unmistakable murk of several accumulated all-nighters, well-earned sleep circling, beckoning like a vulture. Any minute now, the eyes of one of them will roll back, their head will fall forward, and their face will slam on the bartop with a meaty smack. And somewhere in the bar, a skinny white boy is a bit too eager to clarify the name of the Eyehategod song playing, yelling the racial epithet in its title loud enough to startle the dazed, glazed and blazed attendees out of their afternoon reveries. Someone comes to the bar to inform us that one poor soul/hole didn’t quite make it to the toilets, opting instead to shit in the corner of the corridor leading to the johns. A recruit drafted in from one of the sister pubs is sent on a search and destroy mission. He returns disgusted but triumphant.

Ten minutes go by and someone else informs us of the faecal matter. Turns out the wet-behind-the-ears grunt had simply doused the mound of human waste with disinfectant powder (blue-coloured, meant for drains) and cordoned it off with blue roll, so the offending corridor corner appears infested by a pile of luminous blue-spotted mutant excrement like something out of The Thing. A dishonourable discharge beckons for this soldier for his failure to properly deal with the offending dishonourable human discharge.

Naturally, a weak stomach has no place in bar work. But this weekend, my diet will consist of three Quorn scotch eggs, a Quorn cocktail sausage, 63 Modelos, and anxiety. All of which means we have to talk about the snack station — the infamous, annually expanding staff snack station behind the bar.

I’m talking four one-litre bottles of vodka, four cartons of tomato juice, and multiple packs of celery sticks. I’m talking three large bags of tortilla chips, various salsa/guacamole/sour cream and chive/nacho chilli cheese dips, along with apples, oranges and bananas. I’m talking bread rolls, slices of cheese, ham, and cherry tomatoes. I’m talking sausage rolls, scotch eggs, pasta, chicken bites and steak bakes. And I am most certainly talking four to five ASSORTED TUBS OF HUMMUS and endless Modelos.

This is how we win. An army marches on its stomach, and my unit is no different. Around late afternoon, a senior member of the Desertfest team locks eyes with me over the bar and nods to the office. I nod in confirmation and lead the way, followed by the team member and an unknown third party dragging a suitcase on wheels behind them. The door closes, and I look at the two of them, waiting for some sort of introduction, status update, or indication as to why the three of us are cramped into the hobbithole confines of this office.

The two of them ignore me and a sordid transaction unfolds before my eyes.

“You got it?” the team member asks.

“Oh yeah,” comes the reply, in an American accent.

The American unzips the suitcase and produces two extra-large ziplock bags, containing six airtight Tupperware boxes, three in each bag. The boxes are brimming with a beige–brown substance.

My eyes widen, pulse quickens. “Is that h-“

The team member turns and narrows their eyes at me, smiling. “That’s right. Pure, uncut, homemade hummus.”

I gulp. Hard. The team member pulls an artist pass out of his pocket and places it in the American’s waiting hand.

He nods and smiles at me. “I’m an artist, bro.”

I’m hip to this scene. “Oh yeah, me too,” I wink and nod back.

A clandestine hummus handoff! In my own office! I am completely aroused. And, naturally, for his silence, your boy gets a slice of this action. I nip back to the bar to grab a bag of crisps and then scurry into the office and the chilly keg room to luxuriate, alone, in my share of the contraband. Fuck yeah, I whisper to myself, dipping crisps into a hunk of hummus clutched in my hand. This’ll take the edge off nicely.

Daragh Markham has worked, attended and performed at Desertfest many times over the years, sometimes all at once. He’ll play with D-beat speed metal hellions Dungeon at this year’s edition.

Orange Amplification is proud to announce the launch of the Limited Edition Marcus King MK Ultra signature amp. Created in conjunction with the guitar phenomenon and Grammy Award nominated singer, songwriter, this is the first Orange Amp to be collectively designed and built with Orange USA.

GRAMMY® Award-nominated artist, performer, and songwriter Marcus King was downright destined to play music. Logging thousands of miles on the road as “The Marcus King Band, he established himself with unparalleled performance prowess and a dynamic live show. During 2020, he cut his solo debut El Dorado, garnering a GRAMMY® Award nomination in the category of “Best Americana Album. King has used Orange amps for years and working together with Orange has created a signature amp with the sound to achieve his dream.

Representing the perfect marriage of classic vintage American and British tonal sensibilities, the Marcus King MK Ultra is a completely unique design which offers a new approach to the definitive Orange sound. The tonal subtlety of the new amp offers plenty of expressive rock crunch and powerful, sumptuous soul sounds.

The 30 watt all-valve MK Ultra is the first Orange Amp to be collectively designed and built with Orange USA. The carefully tuned circuitry of the new amp responds amazingly to different volume and tone settings on a guitar and works with pedals to shape rather than sit on top of the tone. It uses the highest quality components including custom Heyboer transformers and a pair of 12AX7 preamp valves which drive into a power amp section made of a duo of cathode based 6L6GC power valves. This first for Orange brings out all the harmonics and touch sensitivity King demands.

The range of this simple three knob design has to be heard to be believed. Increase the urgent, responsive VOLUME control for more saturation with the 6L6’s starting to break up giving an almost spongy attack. Dial in the SING (treble) control to form atmosphere with precise variations to tone brightness and add ‘thickness’ by increasing the DEEP (Bass) control.

For me to have a signature amp with Orange is just like a childhood dream that’s come true. It’s a uniquely crafted American amplifier by a British company for a uniquely crafted American Man,’ Marcus King. He is expected to announce new music soon and has a full worldwide tour schedule this year, see the latest show dates at https://marcuskingband.com/tour.


Available now, find out more about Orange Amplification Marcus King MK Ultra signature amp go to https://orangeamps.com/marcus-king-mk-ultra/

Juan Francisco Ayala, also known as Paco Ayala, is a Mexican musician known for being the bassist and vocalist of the Mexican rock band Molotov.

In this interview with Danny Gómez and Ed Navarro from Legato Sales, our distributor in Latin America, Paco tells us about his career, the pandemic years, and his plans for the band. He also tells us how he found his sound with Orange Amps and details his rig.

Stay tuned for a rig rundown video very soon with Paco!

Holy Death Trio by Rene Dominguez / @renphotogs

Hey John! What can you tell us about your band Holy Death Trio?
Holy Death Trio is a high-energy heavy rock creative force formed in Austin Texas in 2019. We are a fusion of everything that rocks and feels good to the soul. We pride ourselves in doing research and development on the current music industry and knowing our music history, from Liszt and Mozart to Motown and The Beatles, to the 60s,70s, 80s and why hair metal was destined to fail and Seattle would spark a no-shits-given revolution. We love to talk music history, so, if you’re reading this, debate with us!

You released your debut album Introducing during the pandemic, can you tell us a bit about it?
They say you have your entire life to record your first album and only a year to record your second, and this album felt like it had an entire lifetime of music on it, with songs I wrote back in 2013. That, mixed with things in life we were going through, like battling the ego and dealing with naysayers. This album was a labour of love and madness. We were determined to be different yet true to ourselves—we didn’t want to be another Sleep cover band.

That being said, we met a truly awesome and authentic dude named Charles Godfrey (Scary American) who worked at the legendary Sonic Ranch Studios for 10 years and recorded some amazing albums, plus he had a number-one Billboard-charting album that he engineered and produced himself! How many bands can say that they recorded with someone who’s made a number one album?  

We had the recipe for success: a talented band, a talented producer, and the drive to make a great album. We were determined to release it ourselves by funding our own press campaigns, and by doing that, we attracted Blasko (Ozzy Osbourne, Rob Zombie, Danzig etc.) to the party. He helped get us a record deal with Ripple Music. and that’s how Introducing came to be.

Holy Death Trio by Levi Guzman / @dreamthorp.

How did you end up signing with Ripple music, and how has it been working with them?
We were discovered by a good friend of ours named Bucky Brown. He saw a video of us playing a live version of our heavy blues hit The Killer and sent it over to Todd Severin from Ripple Music, but we were reluctant to sign with a label. No one will own our music! That’s what I’ve always said, but luckily Ripple is not in the business of screwing musicians over.

We played phone tag for a month or longer, and we knew that Ripple would be a great fit, so eventually the universe allowed the perfect phone call with Todd and the band on new year’s eve 2020, right after we finished recording the entire album. He insisted that we at least talk to Blasko, and if we still didn’t feel comfortable signing, then he said no worries and he would always be there to support us. 

But Blasko gave us an incredible deal and assured us that we would own 100% of our music and that he’d go above and beyond to make sure the presentation of the album (artwork, cover design, formats) was all taken care of.

Now that the world is opening up again, how does it feel like to finally be back out on the road?
It’s a curse and a blessing. Being a band in the underground stoner rock world doesn’t always have its big paydays. We try to play anywhere we can but with gas prices through the roof, it’s not a viable business decision to be on the road. Even the $1000 gigs can eat up more than $500 in gas.

We pick and choose our battles, of course, and have decided to go all in on Austin, Texas—there’s no need to go anywhere else unless it’s for festival dates. Let’s face it, people are just not going out to local shows anymore, so you might as well meet them in the middle, at a place where they are already at, like… Desertfest NYC.

We still have some more big ones to announce, and if you want us to play yours, hit us up at [email protected]

You’re playing Desertfest NYC in May. What are your thoughts and expectations for that? Were you familiar with the UK edition of the festival?
I’ve been a big fan of Desertfest for a while. My goal has always been to tour Europe, and get on Desertfest but playing the Desertfest here in America is an honour.  It will have the same amount of hype as the first Psycho Las Vegas except it’s held in the former rock’n’roll capital of the world, New York-Effin’-City! It’s going to be one for the record books!

What can the festival attendees expect from a HDT show?
You will get the Heavy Rock Experience. High-energy, full-throttle amplifier worship! Straight-up in-your-face rock’n’roll. You can expect to see three bad-ass dudes on stage giving it their all, playing like the world will end the next day! Blood, sweat, tears and fire!

If you’ve ever wondered what a Holy Death Trio show looks like, just watch our White Betty video:

What’s your current Orange set ups?
I currently use the Rockerverb 100 MKIII and a Dual Dark 50 with two PPC 4×12 all in Black. Go big or go home. 

How would your dream Orange rig look like?
I have my dream orange rig with the Rockerverb 100.  It’s everything I need in an amp, but if I could have a full stack wrapped in Purple on both sides of the stage, I might just cry a little bit.

The colourful history of Orange Amplification is celebrated in three new videos featuring legendary front of house sound engineer Colin Norfield, renowned sound engineer John ‘JJ’ James and respected cabinet designer Mick Dines.

In the 70’s Orange Amplification created Orange Hire to provide the PA and backline for the big outdoor festivals such as Reading and the Isle of White. Bass player Colin Norfield was the perfect man to manage this enterprise. From this he went on to become one of the iconic pro-audio specialists of our time. The list of prestigious tours he has worked on include Diana Ross, Toto, Iron Maiden, Pink Floyd, Zucchero and his relationship with David Gilmour has lasted more than five decades.

A mainly self-taught tinkerer and rule breaker, John ‘JJ’ James was responsible for designing most of the company’s products through to 1979 including the innovative ‘Pics Only’ amp synonymous with the brand. When the Bexley Heath factory closed in 1979, James began working with Brain Hatt, chief engineer at Orange Studios before going on to spend more than forty years ‘stage left’ for world class gigs including Eric Clapton, Queen + Adam Lambert, Joe Satriani, Robbie Williams and many more.

Mick Dines, worked with Orange Amplification from 1968 to the present day and was the General Manager of Orange Amplification during the 70’s. He used his experience as a touring bass player to make the company’s cabinets solid and robust. He also introduced the characteristic ‘Basketweave’ front, the material which helped define the distinctive ‘Orange ‘ tone. Dines’ knowledge of the bass guitar was instrumental in the company’s move into the bass amp market with the introduction of the fabled 2×15” Reflector Cabinet using the most up to date parabola design featuring two massive 15” back to back speakers to maximise volume.

The entertaining and informative videos explore a time when these experts in their field were ‘just doing stuff’ that ‘nobody had thought of’ and ‘we made it kinda work’ .To view the Colin Norfield video please go to https://youtu.be/Srvoi9hfp8g, the John ‘JJ’ James video https://youtu.be/Fmp6ctbBy9o and the Mick Dines video https://youtu.be/ahlJ9Teedbw. To find out more about Orange Amplification history please go to https://orangeamps.com/history/