The first time I saw an Orange amp was a picture of Jimmy
Page. And the first time I played on was in Nashville when I tried a
Rockerverb. I’ve been playing one ever since.
The thing that attracted me to playing an Orange amp was that I’m always looking for a great clean tone. I rely on a certain pedal for my drive. When I plugged it into a Rockerverb MKIII I realized I could sustain it forever. I also love the attenuator.
I drive the volume pretty hard and I use the attenuator to
control my actual level. I have an Overdrive called the TB Drive made by a
friend in Germany and that’s my drive tone, always. It’s two channels of
Overdrive so I’m always on the clean channel of the Rockerverb and controlling the
filth with the volume knob on my guitar. I like to use the volume control on my
guitar instead of switching channels on amps.
The thing that I like about an Orange amp for a clean sound is that it has some body in the sound. A lot of times, if you’re just trying to get a clean sound out of an amp, you’re turning it down so the tubes aren’t breaking up. But with the clean on the Rockerverb you can still get the tubes doing what they need to do but you still have a full-bodied sound without a thin tone. That’s crucial to me.
https://orangeamps.com/wp-content/uploads/2018/04/Tyler-Bryant.jpg30002003alexhttps://orangeamps.com/wp-content/uploads/2019/07/Voice-of-Logo-Only-COUNTRY-Orange-279x70.pngalex2019-06-27 15:09:412019-06-27 15:09:43Tyler Bryant - Voice of Blues
A couple of days have passed, and it’s time to reflect on yet another festival. This weekend just gone we were at Black Deer festival in Eridge Park, Kent, and for once the weather gods were on our side – three days of mostly beautiful sunshine in even more beautiful surroundings. Ahh, England, you’re pretty alright at times.
Upon arrival we had just about recovered from Download the weekend before, and it felt quite refreshing to be able to give the good ol’ ears a bit of a rest from the heavy riffs and rock, and take in some soothing guitar harmonies and country vibes from the likes of The Sheepdogs, Kris Kristofferson and more. Of course, we still got a solid portion of the heavier side of it all due to Desertscene London’s Roadhouse takeover, but we’ll get to that later.
Only in it’s second year, Black Deer seems very well established at pretty much every aspect from line up to traders, which saw a decent selection of vintage clothing, custom made guitar straps, cigar box guitars, cowboy hats and boots shops, vintage posters (including a 1979 original Hawkwind poster to the neat price of £195, I’ll take two, please), and a bunch of other cool stuff I was not expecting to wanting to throw my money at while out and about in a field. As far as food went, they had a pretty spectacular selection of vendors serving up southern BBQ, tacos, pizza, mac n cheese, as well as live cooking in the ‘Firepit’ with on stage cooks and professionals.
Our presence at the festival was, well, everywhere, as we were supplying the backline for all four stages. We had a variety of acts approach us post show sharing their excitement over the amps, like iconic blues man ‘Watermelon Slim’ who literally came running off stage asking to buy the amp of us there and then, and saying that he’d ‘throw away all the other amps he’d ever own, cause what’s the point of keeping ‘em them when they don’t keep up? Vintage Fenders, goodbye!’
We also received praise from Brant Bjork who’s guitarist and himself picked up the Pedal Baby a few weeks back to take on tour; ‘We all want that vintage sound that Hendrix had from his Marshall stacks playing to thousands of people. We might not necessarily play venues that size which means a stack of amps would be excessive, however, this little head is the best thing we’ve come across giving us that vintage tone, as well as being tiny and easy to take on tour, it’s perfect.’ Two times Grammy award winning and king of charisma Fantastic Negrito also shared his love for the amps stating he ‘Hadn’t played an Orange for more than 20 years, but they sound so good and look so much better than any other amp out there so I’ll be back in touch to talk more about them…’
As far as for the rest of the time spent there, we bounced between stages trying to catch as many bands as possible, as well as stopping by London locals Desertscene, they curated this year’s Roadhouse stage where we saw the likes of The Groundhogs, The Vintage Caravan, Radio Moscow and more, a few acts to pick us up after getting too snoozy in the sun.
When we’re talking about blues amplification the apple fell a long way from the tree of its origins. Yet there’s something fundamentally organic about the sound of the blues that hasn’t been lost in translation.
That’s because the foundation of blues lies in the roots.
Just like a tree, breaks overtime spawn new saplings, fed from a lineage of ancient roots that continue to feed musicians. Inspiring them to push their limits, evolving in ways that are almost indistinguishable from their forbearers.
But once you get down in the mud you’ll notice that everything that was, still is.
The murky roots of the Mississippi Delta
To some extent, it takes a lot of imagination to tell the story of blues amplification. But what we do know is before amplification; we had the acoustic blues. A melting pot of sound, mixed up from traditional string bands, folk, Creole and Broadway theatre songs.
It’s no surprise that legends like Robert Johnson originally made their crust playing American show tunes at Juke joints. These places were wild and unruly, the name itself ‘Juke’ comes from the Gullah word ‘joog’ or ‘jug’ meaning rowdy or disorderly. So the need for louder instruments was a prerequisite. Resonators became widely used for those who could afford them. Not many of these players could.
Consider the first amplifiers these blues legends were using. Makeshift designs built by converting old radios. They were pure grit; filthy dirt that was brutality embodied.
The Orange Rocker 32 is the perfect amp to achieve that level of grime. All valve monster tone within the footprint of a self-contained stereo combo. This is an amp designed for experimentation.
Just as the pioneers had rewired and retubed army issue radios (often players would swap out the smoother 6v6s for European standard EL34s) to create roaring beasts usually resigned to closing time on a Saturday night, the Orange Rocker 32 gives you so much flexibility.
12AX7s on the front end allows you to dial the distortion all the way up to Mr Nasty while the 12AT7s give more headroom and chimey cleaner tone. Add in 4 x EL84’s at the power amp stage and the whole thing fires up when overdriven.
Now the old school blues players didn’t have luxurious stereo effects returns with separate valve output stages, but you can be sure they would have been melting heads in the process.
Some other cool features include half power mode for tinnitus-free wailing, perfect for those who don’t want to experience the deafening silence of a motor shelling during an intimate gig.
Many of the Delta players migrated northwards during the great depression, up to the Mississippi and along Highway 61 towards the big city lights of Chicago, from there, blues exploded.
Where money flows, technology grows, and with that amplifier design took off. Classics amps that today now symbolise the American sound became a common workhorse for blues musicians.
Those amps though from back in the day were dirty beasts. The players; innovators. So when it comes to getting close to those classic sounds you got to think about what was going on over there.
Amplifiers were being modded and tweaked, each one was unique, often driven by a need to keep the thing going long enough to play out the next gig. It’s said that when Keith Richards and Eric Clapton paid homage to their heroes by meeting them on American soil they were expected them to be wielding Gibsons, but in fact, they were playing Kays. A perception that comes from an ability to play the hell out of anything and make it sound badass.
The TremLord 30 is an Orange take on the classic amps that were around in the 50s. It’s quite likely that this beefed up vintage design is an accurate reflection of what was in use, opting for EL84 (nee EL34s) that break up more than the 6v6 type American tube.
What those guys wouldn’t have were contemporary FX chains that give you far more flexibility without suffering tonal loss.
Probably the single most beautiful thing to happen in modern-day amplifier design is to drop the volume but still retain the springiness of a valve amp. That means you don’t need a plethora of amps to keep you away from an anti-social behaviour order.
The Spirit of Revival
Orange, as you may know, played a role in sculpting the sound of the blues from the late 60s when Fleetwood Mac took the first Orange rig out across America. This was a big step away from those early blues players who sacrificed blood and bone to amplify their sound.
This was a wall of sound, thick with mid-ranged compression, tar-like, knurled and jagged edges reminiscent of sun-beaten highways where its origins were performed in road worker campsites. A sound that rang on endlessly as the birds picked at the carrion that laid in their wake, and which has evolved beyond comprehension, yet still is as relevant now as it was 50 years ago.
The amplifier which embodies the spirit of the British sound is the Orange AD30, our flagship all-valve amplifier.
https://orangeamps.com/wp-content/uploads/2010/05/Jimmy-Page-Led-Zeppelin-AD30.jpg600800jamiesmithhttps://orangeamps.com/wp-content/uploads/2019/07/Voice-of-Logo-Only-COUNTRY-Orange-279x70.pngjamiesmith2019-06-19 21:25:392019-06-27 12:05:15Blues: Down to the roots
Described as the UK’s hottest new rock n roll band Bad Day Blues have supported greats such as ‘The Killers’ and ‘Manic Street Preachers on their way to getting radio play on Radio 2. The band’s bass player Adam came into Orange Amps HQ to go through the Terror Bass and why he thinks it’s the perfect touring rig. Adam was using the Terror bass through the OBC112 which a perfect combination of power and portability.
‘Hi i’m Adam Rigg from the Bad Day Blues Band.
Amps were kind of a necessity so I would us any old battered amp, whatever I could throw in the back of the transit van or whatever they had at the venue I would use. Until that is I started using Orange amps and then I was like ‘Ah, I kind of get the whole amp thing now!’ It sounds ballsy without being thin or weak, it sounds vintage, I like the tubes on it and it has a little bit of natural growl. Which is really hard to fake with any pedals or any kind of plug ins, it’s a very real authentic sounding amp. Which is why I use them. It’s not even about the sound of the amp it’s about the aesthetics of it, the look of it and the feel of it. It’s got that aura about it which is one of the reasons I dig Orange.
I really like the valves on the Terror bass, the fact that it’s small, its portable and i think it is Class D. But the preamp is the tube element, which means you get that natural growl. Which is perfect for the blues you want that kind of authentic vibe, you don’t want anything that sounds too clinical or too fake. I don’t use any pedals, I just plug my bass straight into it. I get a little bit of growl out of it if I want, or I can back it off and get it a bit cleaner with some palm muting. So it’s literally perfect for the blues.
That’s why Orange amps are so great, they are just so easy to use, I’ve never been one for loads of EQ’s and stuff. My bass has a volume knob and that is it and that is what I like about Orange, its an instant good tone. I always think if you get amps and guitars with tons and tons of switches on you are trying to make up for something, if it doesn’t sound great pretty much straight away then why bother with it.
I was surprised by the OBC112 because they are tiny or relatively small compared to the bigger amps next to them. But they are loud and they can handle it, I think they are 400 Watts, which is loud. I usually plug my terror bass into a OBC410 or I have had it in the 810 before and it is so loud. If anyone is wondering about a Terror bass and wondering is 500 Watts loud enough, it definitely is! If you can pair it up with a smaller speaker, you have a perfect rig. If you are jumping on the tube, you could carry one of those in your hands, bass over your shoulder and Terror bass in the other hand.
They are just one of those iconic brands, you have posters up on the wall when you learn how to play guitar of Orange amps. The fact that Orange amps are nice enough to be seen with me is lovely. The gear is great as well so that’s a plus!’
https://orangeamps.com/wp-content/uploads/2019/06/Youtube-Thumbnail-Bad-Day-Blues-no-logo.jpg17242584Danielhttps://orangeamps.com/wp-content/uploads/2019/07/Voice-of-Logo-Only-COUNTRY-Orange-279x70.pngDaniel2019-06-10 09:30:452019-06-26 23:59:48Interview: Bad Day Blues
As some of you might know by now, we’re headed to Black Deer Festival next month to air our cowboy boots (thank you Lemmy!), potentially wear cowboy hats, listen to great music and eat delicious food. As we’ve mentioned countless times before, we don’t just cater for stoner bands, although we are totally stoked about Matt Pike creating that image for us – who wouldn’t be?!
Black Deer Festival is new to the UK festival scene and specialises in country and americana, and will take place in Eridge Park in Kent the weekend of 21st to 23rd of June. Despite the main focus being country and americana, you’ll also find blues, folk, some heavy rock and psych artists – mutual for all is the origin being the same, simple blues. Among the artists you’ll find country heavy weight champion Kris Kristofferson, who’ll actually turn an astonishing 83 years old the day after his set, as well as younger generations of the genre such as singer-songwriter Justin Townes Earle who happens to be named after Townes Van Zandt, blues sisters Larkin Poe, Grammy award-winning and the king of charisma Fantastic Negrito and political activist and singer-songwriter Billy Bragg, to name a few.
As for the heavier side of things; Desertscene, the creators of Desertfest have taken ownership of ‘The Roadhouse’ which they will be curating throughout the weekend. Some of the bands you can catch there include legendary UK heavy blues band Ken Pustelnik’s Groundhogs (who alongside Kris Kristofferson were one of many bands on the bill for the famous 1970 Isle of Wight Festival which also saw the likes of Jimi Hendrix, Ten Years After, Sly and the Family Stone, The Doors, Procol Harum and Terry Reid, yikes!), San Diego’s face-melting heavy psych three piece Radio Moscow, multi-instrumentalist and former Kyuss drummer Brant Bjork and New York’s psychedelic, heavy, mellow and melodic King Buffalo.
What sets Black Deer apart from other festivals is the community aspect of it all; where a lot of festivals would give parents anxiety even considering bringing their kids to it, Black Deer has created a separate festival within the festival, giving children the opportunity and encouragement to explore, whether that being through music, craft or the outdoors. There will be live music performances, guitar lessons and arts and crafts workshops – a great way to get ‘em while they’re young – we gotta shape the next generation of musicians somehow.
Black Deers’s also teamed up with SupaJam, an organisation who helps educating disadvantaged youth on everything music, and have for this year’s festival given them their own stage to manage, ‘The SupaJam’ stage. They will be responsible for every aspect of the stage from set design, to curating and managing, providing them with the qualifications and skills they need to progress within the music industry in the future.
Another thing we can’t forget about is the food, which will be served up in the ‘Smokehouse’. As with the music, the food has also taken it’s inspiration from America’s deep South, and you can expect southern bbq foods and flavours such as ribs, pulled meat and brisket. They will also be catering for the vegans and veggies with coal-roasted aubergine, cheese stuffed jalapeños and corn tacos, as well as serving up a variety of craft beers, artisan ales and fine wines, and of course, a team of expert trained baristas providing you your morning brew to get you going in the early hours.
We’re also incredibly excited to have teamed up with Black Deer to give a band or artist the opportunity to play a 45 minute set at The SupaJam Stage, as well as winning a Tremlord 30 Guitar Amp. The winner of this competition has been selected and will be announced shortly.
There are still some tickets left for this years festival, so hurry on over to Black Deer’s website to get your hands on one. See you there!
Francesca Simone is a solo artist best known for being the live touring guitarist with Beyonce. You can see her here onstage at Coachella in 2018.
The moment we met her at NAMM in 2018 we knew she had to be an Orange Ambassador. Her main amp is a Rockerverb 50 MKIII Combo, but in this video from NAMM earlier this year we let her put the TremLord 30 2×12” Combo through its paces. The TremLord 30 has an ultra-clean tone and features dual-speed tremolo.
(Special thanks to Jon Bailey, Orange’s USA Tech Manager, who got past his extreme discomfort being on-screen to get this interview. Seriously, folks, his palms were sweating. We hope he never reads this.)
There’s no secret that the blues was the origin of rock and all it’s sub-genres, and we are thrilled to see that the legacy still lives on today with young artists embracing it and playing it forward. Below is a few blues musicians we’ve been lucky enough to work with throughout our time.
Crush Pro 60 Combo “Here comes Joe the Jammer” is what Robert Plant and Jimmy Page used to say when they saw Page’s guitar tech Joe Wright coming their way. Born in Chicago where he later played alongside blues men such as Howlin’ Wolf, guitarist Joe Wright (Later Joe Jammer) would put on Tuesday night jam sessions at the legendary Kinetic Playground and had the luxury of attending every show there for free – That’s how he first met Led Zeppelin in early ’69, at a time where no one really knew who they were, except for the fact that they had the guitarist from The Yardbirds. After the meeting, Joe ended up becoming Jimmy Page’s guitar tech and toured the world with them, jamming with Page in the dressing room before the shows, some of which he’d get invited up on stage to play. Later on, Joe formed his own band “The Joe Jammer Band” who supported Zeppelin on several occasions. Since then, Joe has become a renowned and respected man in the Chicago music scene as well as the industry. He’s still playing and will actually swing by London on the 8th of August, playing the Eel Pie Club in Twickenham – head over for some incredible blues and entertaining rock ’n’ roll stories from a lifetime on the road.
Marcus King, The Marcus King Band
Rockerverb 50 MKIII PPC412 4×12 Marcus King started playing guitar at the age of 3, and have been playing professionally since the impressive age of 11. His style and way of playing is a mix of his love for acts such as Clapton, Hendrix, Stevie Ray Vaughn and The Allman Brothers Band, as well as his love for “the frontman”, and artists with attitude such as James Brown, Otis Redding and Aretha Franklin. With the above influences combined, Marcus, which is still only in his early twenties, have become a master blues man, mixing in elements of soul, as well as rhythm and blues.
Hannah Wicklund, Hannah Wicklund & The Steppin’ Stones
Rocker 32 Another amazing young artist is singer and guitarist Hannah Wicklund of ‘Hannah Wiklund & The Steppin’ Stones’. Hannah was early on gifted a guitar from her dad and formed the band when she was eight. Fourteen years down the line at the age of 22, she has more than 2000 shows behind her, leaving her somewhat a senior in the field despite her young age. She released her self titled debut album last year, and have been touring excessively ever since. Catch her in the UK and Europe later this year!
Bad Day Blues Band
Crush Pro 120 OB1-300 CRPRO412 London based ‘Bad Day Blues Band’ first met at iconic Soho blues club ‘Ain’n Nothing But’ due to their mutual love for, you guessed it, the blues. They then went onto forming the band, which despite it’s name, in the beginning played mostly rock ’n’ roll, before mixing in elements of blues, rock and soul. Since then, they’ve released one album and various EPs, one of which were recorded at legendary Abbey Road Studios.
Peter Green, Fleetwood Mac
Orange Matamp Now, let us not forget about – not just the first blues guitarist to embrace Orange amps, but one of the first ever guitarists to do so, former Fleetwood Mac guitarist, Peter Green. Peter Green and Fleetwood Mac was first introduced to Orange in it’s founding year of 1968 when their road manager Dinky Dawson brought Peter Green to the then existing Orange Shop in Soho where they ordered the first ever Orange PA for Fleetwood Mac’s upcoming American tour. Fast forward to a few weeks later and the band received six 100-watt amps and sixteen cabs. The rest, as they say, is history.
https://orangeamps.com/wp-content/uploads/2018/11/DSC01020.jpg10801920Ella Stormarkhttps://orangeamps.com/wp-content/uploads/2019/07/Voice-of-Logo-Only-COUNTRY-Orange-279x70.pngElla Stormark2019-06-01 12:00:042019-06-26 23:56:24The Voice of Blues
There were a lot of whispers within the company about Marcus King before his London Islington Assembly show, a gig where Orange founder and CEO Cliff Cooper embarked on a two hour journey to introduce himself and say hello before the show, and where I had countless phone calls, messages and emails from various colleagues around the globe pre interview, making me aware of how.god.damn.important. this 22 year old guitar prodigy was for the future of music and how they’d send me home on the first flight to Norway (not really…) if I didn’t make a good impression – so no pressure there.. During the interview I found out more about his love for the charismatic frontman, and that he started playing guitar at the age of 3, an age where I personally was still trying to grow a full head of hair. To get back into it, ladies and gentlemen, the ever so clever, Marcus King.
Finding someone like yourself playing this sort of music and playing it as well as you do at 22, really makes me believe there’s hope for future generations. I assume you must have been young when you started playing, may I ask how young? Marcus King: I first started playing when I was about 3 or 4, and I’ve been playing professionally since I was about 11.
I’m guessing music’s been a natural part of your upbringing as you come from a strong blues background with your dad being fellow blues man Marvin King. Apart from that, there are such strong elements of soul, funk, and even some latin grooves in your playing, what other types of music did you listen to when growing up and learning to play? Marcus King: I was really inspired by guitar players such as Clapton, Hendrix and Stevie Ray Vaughn from a young age, another early discovery was The Allman Brothers Band, as well as The Marshall Tucker Band and a bunch of other great Southern bands. Later on, I got really intrigued by “the frontman”, and artists such as James Brown, Otis Redding and Aretha Franklin – anyone who had that certain attitude would really speak to me. What really changed the game for me was when I started studying jazz theory, and discovering Miles Davis and John Coltrane was really life changing to me, a clear game changer.
You got your band with you, The Marcus King Band, here tonight – how do you work when you make music, do you write the most of it on your own and bring it to the band, or is it done as a unit? Marcus King: Most of the songs I write and bring to the band for them to add in their flavour, and that’s what creates a Marcus King Band song, a collaborative effort. To those of you who don’t know, The Marcus King band is:
Drums: Jack Ryan – 6 years in the band Trumpet: Justin Johnson – 5 years in the band Bass: Stephen Campbell – 4 years in the band – Uses an AD200 Saxophone: Dean Mitchell – 4 years in the band Keys: Deshawn “D-Vibes” Alexander – 1 year in the band
Now to put you on the spot in front of founder Cliff Cooper, how have you been finding using Orange on this past tour? Marcus King: I’ve loved every second of it – I’ve never had a mishap using an Orange, which is one of the things I love the most about them, how dependable they are. Plus, you can play ‘em straight outta the box! Tonight I’ve got a Rockerverb 50, which is my favourite Orange head, and a 4×12 cab. I’ve also always been a reverb guy so when Orange’s Pat Foley in Nashville introduced me to the Rockerverb, I was sold on it. Pat’s great, and he’s become close friends with my dad as well.
https://orangeamps.com/wp-content/uploads/2018/11/DSC01029-II.jpg10801920Ella Stormarkhttps://orangeamps.com/wp-content/uploads/2019/07/Voice-of-Logo-Only-COUNTRY-Orange-279x70.pngElla Stormark2018-11-06 13:30:122018-12-12 16:58:20Interview: Marcus King
There are oh-so many awesome bands out there and nothing pleases me more than finding new ones. Here I’ve shared some of my current favourites, eight great bands that might be tucked away in smaller or DIY venues, dingy dive bars, dead end towns or whatever. Hidden gems that shouldn’t be hidden, as they’re all en route to greatness in my opinion. Heavy rock / psych rock / hillbilly blues and stoner rock, here’s a bit of guitar goodness for everyone in their right mind, and for those out of theirs.
‘Sensational’ isn’t a word I use lightly, but while describing ‘Sacri Monti‘ I feel it’s pretty damn spot on. Based in San Diego, which seems to be the mekka for music within this genre, the 70’s psychedelic rock five piece are signed to Tee Pee records alongside fellow San Diegans and psych rock connoisseurs ‘Earthless‘ (among others), and released their self titled debut album in 2015. The album is, needless to say, an absolute killer – sensational, even.
Photo via the bands Facebook page / Julia Marie Naglestad
‘The Devil and the Almighty Blues‘ is living proof that Norway is a hell of a lot more than black metal and church burnings. With a profound love for the good ol’ heroes of blues combined with a passion for punk, rock, country and metal, ‘The Devil and the Almighty Blues‘ recorded their debut album live in studio to preserve that raw, natural energy, and they’ve created, as they say it themselves, «A new take on blues-based rock, heavy without becoming metal, slow without being doom, bluesy without being straight up and boring, and all this without losing the almighty blues without of sight»
While at it on the blues, here’s another one for you – ‘Jonny Halifax and the Howling Truth‘, heavy hillbilly blues with distorted vocals and a lot of lap steel. That said, some of the Howling Truth songs becomes so heavy that they almost stop by stoner or doom town, a perfect example of this is ‘In the realms of noble savagery’ from 2013’s ‘The Bestial Floor’.
A dark and gloomy Saturday night in 2015, I was lucky enough to stumble upon Norwegian band ‘Shaman Elephant‘, as I caught the last of their set at legendary Bergen venue Garage while spending the weekend in Norway. At the time they barely had any online presence and no music to be found either online or on record, but the name stuck, and by summer 2015 they graced us with the presence of an EP, ’More’, and I’m stoked to say they’ll be releasing their debut album next month, which I’m sure will be absolutely killer if the EP is anything to go by; Progressive psychedelic rock with elements of jazz and heavy riffs.
‘Chubby Thunderous Bad Kush Masters‘ – rolls off the tongue, doesn’t it? I’ll admit it took a while before I actually managed to learn this name by heart, but my god it’s a good one – 10/10. Dressed in tie dye t-shirts, black metal corpse paint and bandanas, you dont really know what to expect when these guys takes the stage in a cloud of smoke and bubbles, but they’ll hit you in the face with a wall of stoner fuzz, beefy bass and the occasional cowbell.
«Why GNOB?» «Because it’s bong backwards.» «Fair enough.» Another psychedelic one, this time it’s London based trio GNOB which sounds like an eastern acid trip gone great. During their intense live performances they play heavy psych rock you can kinda dance to.
HCBP consists of singer/screamer/guitarist Matt Reynolds and drummer Tom Marsh (both of HECK), and may or may not have been a result of the rest of the band being late for practice, I don’t know, but whatever it is, I’m glad it happened. While moving away from the road of ‘general noise’ they’re on with HECK, they’re still sticking to their guns of loud and energetic live performances, with their dirty blues and hillbilly hardcore. Their second album is due to launch early next year, and having had a few cheeky listens I can assure you it’ll be a banger.
Oak‘s another case of me randomly stumbling across a band in a bar as I found them nearly naked at East London venue The Birds Nest, and I dont know if it was the smell of sweat and beer, the shirtless, longhaired, hairy men, the heavy riffs, the energetic live performance or all of the above, but they pretty much had me straight away. As they say it themselves, they «Take retro blues rock riffs influenced by the likes of Cream, make it filthy and down tuned and then get an actual mad man to yell over the top of it. For fans of: Cream, Mountain, Kyuss, Black Sabbath, and being shouted at.»