perseverance, reflection, and swing music in the modern age: An interview with pierre omer of Pierre omer's swing Revue
Indie and Alternative. When those two nebulous terms are used alone in the context of music genres, this only serves audience segmentation over providing concrete music style classification. Only linking a root genre allows a palpable offshoot genre to form, and the commercial feel of those terms is negated, with the focus going back towards the art and away from the consumer. The long game of any creative endeavor requires marketing one's work. But what about the artist who consciously avoids classification, preferring stylistic fluidity over pigeonholing? Do they get thrown into an ambiguous label because some manager/journalist/marketing exec decides, "They'll likely fit here?" That's not segmentation; that's a cop-out tactic, again bringing it back to segmentation. You could call it non-popular music, which it may be, but there's an audience for everything.
Artists like Pierre Omer face scenarios like these. The Swiss songwriter has made a steady career writing music that grazes along the roots of rock n' roll with various projects dating back to the mid-2000s. A co-founding member of an unclassifiable, punked-out vaudeville troupe named The Dead Brothers, his influences with this Genevese band ranged from old-world musical territories from Balkan folk to gypsy jazz mixing with carousel waltz-brass rhythms.
As a solo artist, Omer continues to avoid remaining both static and modern in style with his projects ranging from garage-tinned solo work, dark electric blues (Los Gatillos), swooning electric folk (Pierre Omer & The Nightcruisers), and a throwback to the popular music of the Depression era with his swing quartet, Pierre Omer's Swing Revue. This year, The Swing Revue will release their forthcoming sophomore effort, Tropical Breakdown, and Omer opens up genre ambiguity and his forging into the steadfast, unclassifiable artist.
Photography by Andreas Staebler
The release of Tropical Breakdown comes at a coincidental time, given a month prior saw the release of Death Is Forever, the final album from The Dead Brothers. You co-founded The Dead Brothers alongside the late Alain Croubalian and spent considerable time writing and recording together before leaving in 2009. In a way, their last release marks the official end of an era in your life, while Tropical Breakdown marks the beginning of a new chapter. What are your thoughts on this, and can you discuss how you processed your feelings upon learning about Alain's passing in 2021?
The end of 2006 is when the original lineup of the Dead Brothers disintegrated, our last show being in San Paulo, Brazil, at Club Inferno. Good name, eh? We all took planes in different directions upon leaving South America, and returning to Europe to get on with my life without the band wasn't easy. Intense, that's the best way to describe the last few years of being a member of the Dead Brothers, so the departure left a big gap in my life and a looming feeling of failure. The band comprised different personalities, and the inability to manage those and make things work between us was very frustrating. We all definitely shared many musical and human adventures with Alain, and he was an interesting guy. In the following years after that split, we hardly saw or spoke to each other. On my side, I kept away from the band's new lineup because I couldn't deal with it and felt it was unfair that Alain retained the band name. But then I said fuck it, I have my projects and focused on those. So, to answer one of your questions: that era of my life ended a long time ago. The day Alain died, I started getting these phone calls and messages; it was like my past life was suddenly reopening and bringing up all these memories. It gave me a strong sense of the significance of my life's adventure in the Dead Brothers. Beat-Man would be the guy to ask what it is like to release both albums so close in time because he kept working with both of us. For me, this new Swing Revue album is a new chapter for the band with a new lineup and new spices.
An early incarnation of The Dead Brothers. Photographer unknown.
What was the reason for your family’s decision to move to Switzerland, and was the transition easy for you to adapt to at a young age? What was Geneva like while you were growing up compared to how the city is today?
Professional reasons are my guess. I don't remember really what it was like, but I was too young to have good friends I would miss or that kind of thing. And anyway, my memory is that we kept going back and forth. It was bizarre because on one side was this big cosmopolitan city, and on the other was this house in the country outside Geneva. We stayed with my grandparents, who were old-school country people. A farm was on the other side of the road, and I loved hanging around that place. The peasants were out of a Zola story; they hardly had running water.
In an interview with Wüste Welle Radio, you note that AC/DC is the first band who influenced you in the rock music vein, yet you’re not exactly the average rock musician. Your catalog of work carries a genre diversification reputation that links back to roots music. We can hear blues and country in Pierre Omer & The Nighcruisers, gypsy jazz and fado in The Dead Brothers, folk music in Los Gatillos, and swing jazz in Pierre Omer & The Swing Revue. Do you credit anyone or an experience in particular who turned you on to these different genres and really made you branch out into different compositional styles?
To tell you more about my childhood, on one side, I had my mum playing Dylan and Beatles records; on the other side, my dad was playing Louis Armstrong, and I found a gramophone and a collection of shellac records in the attic. I was introduced to AC/DC at school when I was seven. As far as I can remember, I always listened to different music genres, but the short answer to your question is Tom Waits because I was fascinated with his ability to blend all these other influences in such a strange way.
Let’s get into your performance career. None of the bands you’re in or have been a part of sound anywhere near alike, with the most notorious being The Dead Brothers, whom you’re quoted as a band whose goal is to explore the European roots of the blues. Was this the first band you were a part of that opened your mind to how other styles can complement each other and truly allowed you to challenge yourself as a writer?
I already had spent a few years working for a cabaret show when we started the Dead Brothers and every year, we were required to learn a repertoire of 40 or 50 songs ranging from 1930s Berlin Expressionism to Broadway classics, French musette, and even 1980s mainstream. This cabaret took place in a room that hosted free jazz and experimental music concerts, and I was always composing stuff, but I started writing songs later. Due to my many influences, it took me a while to figure out what I wanted to do.
The Pierre Omer Swing Revue - Photography by Stephane Rosini.
What musical or developmental fundamentals or lessons have you learned in The Dead Brothers that you have carried into your other projects?
The studio experiences we had taught me a lot! Our first demo was recorded in my room on a minidisc where we had one microphone, with Alain’s mouth a few centimeters away while our drummer was at the other end of the room. Between those two, you had a tuba, a trombone, my guitar, and my accordion, where I would step closer to the mic every time I played a lead melody and then lean back again to play the rhythm. We decided to produce our first album like that; it gave us a strong sense of dynamics and sound balance. We reinvented the old way of recording! The second album was split-recorded between a local studio in Geneva run by our friend David Weber and over on a farm in south France by a producer named Bob Drake, who blew our minds! Not only was Bob a great musician, but he was also ahead of his time working with computers. Bob was a real inspiration; he was quick to understand what we were trying to do and excited to try all sorts of sound experiments.
Let’s talk about The Swing Revue; how long were you sitting on this throwback idea before Swing Cremona’s debut in 2013? When did you know the timing was right to start the project, and what is your history with the band’s lineup today?
I've really been into swing music, especially Django Reinhardt, since I was a teenager. Then, I always throw in a swing number here and there with the Dead Brothers and my other projects. When the Dead Brothers split, Beat-Man told me I should have a swing band. But I did other things until 2013, the year I was offered to put together a band for an event in Geneva. I'm still determining precisely why I decided to take the opportunity, but I did. I put together 15 songs and called up Christoph [Gantert], who played trumpet with the Dead Brothers, and Julien [Israelian], a drummer with whom I had been doing many different things like theater music and touring as a two-piece. Then we all wore tuxedos, and that's how it started. We then added Jean-Philippe "JP Tornado" Geiser on double bass; he was also part of the Dead Brothers' first lineup on the tuba and the banjo. We had another bass player when Geiser left, and then Geraldine [Schenkel] stepped in on keys; she's someone I had already played with over three decades ago in the cabaret show mentioned earlier.
How strong is Switzerland’s scene today for swing jazz music, and where is the scene for The Swing Revue healthy across Europe? Have you tested the waters across seas yet for this band, and are there any plans or desires to take The Swing Revue internationally?
Just after we started playing, this electro-swing wave hit the dance floor. The word swing became "hip," and we benefited from that. But electro-swing is actually the polar opposite of swing music; the pulsation is the genre's antithesis. We performed in Lindy Hope clubs, but we didn't fit in that revival scene at all. Somehow, our swing music has a garage attitude and sound, but we really don't fit anywhere. The Swing Revue regularly plays in Switzerland, Germany, and sometimes France, and there are plans to get around more! We're neither a swing band in the traditional sense nor a garage band, so it's harder to get around, but we manage. A tour will occur in November with dates in Switzerland, Germany, France, and Belgium.
How did you want this record to differentiate from Swing Cremona when writing Tropical Breakdown? There are fewer covers on the new album, obviously, but what did you specifically want to stand out on the album that wasn’t prevalent in the first record?
The first album was done quite spontaneously as a tribute to that music. But then, after a few years, I needed to get away from that traditional approach as much as I like swing. So we started trying to mix different influences into our sound, and it took me a while to find the right balance and sound. We tried mixing reggae at some point, but that didn't get anywhere. Finally, we still have this swing base, but from there, we explore different territories like film noir sounds or Latinish rhythms. The keyboards allow us to develop new arrangements and turn on the lights in some corners of our little world we hadn't explored yet.
Lalla Morte fire walking in Geneva with The Swing Revue. Photography by Karin Feusi.
What plans for The Swing Revue that you can reveal are in the works?
Well, Tropical Breakdown is about to come out, so we're trying to let the world know it's out there! We are getting ready for the release tour in November and have already started booking a tour for Spring '24, which will take us to the UK, Spain, and the north of Germany.
Give Gearhead readers your Top 5 albums, don’t hold back.
Tom Waits - Rain Dogs
Dr. John - Gris Gris
Siouxsie and the Banshees - A Kiss in the Dreamhouse
Bob Dylan - Blonde on Blonde
Suicide - Self Titled
Pierre Omer’s Swing Revue’s Tropical Breakdown will be released on October 27th through Voodoo Rhythm Records. Pre-orders are live, and live dates can be found through Radiogram Records. Keep up with everything Swing Revue related via the band's Facebook and Instagram.
Interview by Eli Grisham.
The partnership between The Jackets and King Khan, when the former hired the latter to produce the Queen of the Pill sessions, resulted in the band's strongest and rhythmically diverse songwriting. Whatever the band learned in the studio has a carry-over effect on The Jackets' new single, Pie In The Sky/Misery of Man. With this single, the band is yet again striking a good balance between graceful harmonies and guitar-driven melodies.
Pie In The Sky/Misery of Man is the band’s first release on their new venture, Wild Noise Records, with both sides of the single holding polar opposite songwriting directions. The A-side’s title track plays out like a polyrhythmic dream due to frontwoman Jack Torera’s vocal work acting as an auxiliary instrument to her hypnotic-pacing guitar work over the mid-tempo cadences from her co-conspirator, Chris Rosales. The lyrics hold a degree of ambiguity with the circumstances of starting over somewhere in life with the chosen language allowing people to interpret their own story on the story of Torera’s invisible protagonist. The B-side with "Misery of Man" holds the band's signature reverb n fuzz garage beat sound. Ever confident and commanding are Torera's vocals, but the standout addition is her ability to theremin-ize her throat for added effects upon the song's conclusion.
Finding a balance between staying honest with where an artist comes from and incorporating growth into your art is a challenging feat, and The Jackets are straddling this development in fine form. Pie In The Sky/Misery of Man shows The Jackets have new tools at their disposal, and it will be exciting to see the future for these three and the direction their songwriting heads next.
You can order a copy of Pie In The Sky/Misery of Man through Wild Noise Records.
Album review by Eli Grisham.
Slovenly's investments over the years in a global array of garage punk have, no doubt, given them firm footing among the trash rock n' roll world and tightened the brand as a consistent flagship destination for their audience. But in all sincerity, if it weren't for the curveball releases such as groovetacular Mediterranean folk leanings of Sanlsidro or psychedelic monk chant-rock of Acid Baby Jesus, Slovenly would be another predictable rock n' roll label. Granted, redundancy helps reinforce brand perception, but the left-field releases will strengthen the notion that genuinely open-minded music fans run a music company.
Full Sun by Spitting Image is the label’s new left-field release, with the album cut in the darker vein of post-punk/hardcore and industrial, a far cry from the usual grease-laden psychedelic insubordinate fuzz punk leanings the Reno label has served up over the decades. Speaking of Reno, this is the first time the brand is releasing a hometown band. The cold, intimate production feel shows the group’s admiration of Slint’s Spiderland and 90s-era Dischord, while the range of dynamics in their songwriting shows their influences. There’s a sandwich effect in the record, with the first half showing Spitting Image’s controlled aggression on “Not This” and “Spirit Trouble Flash.” The section of the album is a slow burn, but once the first half’s tediousness breaks with “Black Box,” Full Sun starts to get interesting. “Black Box” sounds like a leftover from Ministry’s Psalm 69 sessions with its aggro-industrial driving guitar work coupled with drummer Donovan Williams, sounding like his job was outsourced to a Roland TR 909. That and “Devil’s Bloom” are the only high-energy songs present with its concentrated riff and full-tilt punk attack where for the first time throughout the record, the anxiety in vocalist Austin Pratt’s throat is absent. Once those two songs conclude, Full Sun’s sleepy side arises with the mellow and melancholic “In Menace Meadow” and, finally, the choice cut of the album, the title track. The focused and high energy expressed on “Full Sun” feels like they were saving up their chops and best expressions for last, precisely what Spitting Image does here.
Full Sun will be available via Slovenly Records on all digital providers in February 2023, with a vinyl and cassette release in Springtime. Spitting Image doesn't have a presence on Facebook, however they're active through the other Zuckerberg platform.
Album review by Eli Grisham.
Pacific Coast Highway. The stretch of road heading towards Hermosa Ave is oddly empty this Saturday afternoon in late Summer, a time when normally locals and non-locals would be flocking here en masse. Adjoining Redondo or Manhattan Beach could have something more to offer people looking for more than just a day on the ocean; their business and time aren't my concern; however, all that matters is that it's hot outside today, fucking hot to add context.
Hermosa is a stretch from where I live. Crossing the 405 freeway to the South Bay is counterintuitive since Malibu's beaches, and even Oxnard is much closer to home. However, reading about a massive mural depicting the figures of the South Bay punk rock world in Hermosa Beach got me curious and two gallons of gasoline lower. Even at 3:45 p.m., traffic is still stacked with bodies in cars heading to the water. Aviation Blvd is the offramp and becomes PCH which then becomes Pier Ave and finally Hermosa; lo and behold, look at that on the side of a parking garage. A bright yellow, turquoise, red, and grey colored illustration where the centerpiece is a dilapidated building with two longhaired, towering figures, one emerging assertively from the front of the building yelling into a mic and the other behind the building, looming large and in attack mode with guitar in hand, both in live-action shots. A mural such as this isn't a regular sight in most cities. But Hermosa Beach is notable in Los Angeles culture for being an epicenter for the origins of Southland punk rock beginning in the late 1970s. It makes sense that a new generation of residents would jive with seeing a mural of The Church, Keith Morris, Greg Ginn, Pennywise, Mike Smith, and other notable figures in the city's punk and skate world as an homage to the area's cultural history.
The United States has a collection of these types of homage murals a Ramones one on the Thorneycroft Ramp in the Queens borough of NYC, and 22 miles across the 110 Northbound freeway from Hermosa Beach lies a massive Mike Muir portrait the city commissioned across a large wall near on Santa Fe Ave in DTLA’s Arts District. “Homage” is one way to describe these murals; a publicity tool for the city to piggyback their image off their hometown artist’s undertaking is another (the irony being Los Angeles officials coming back to honor Suicidal Tendencies with this mural, even though the city gave them a six-year ban from playing within city limits. Violence at their shows is the reason for the ban, and the band reaching commercial popularity is the reason for the ban’s lift.) Objectively, the venture is a win-win for both parties.
A question hit me as I was looking at the South Bay mural, are there any other cities outside the United States who do the same for certain artists? Does Vancouver, Stockholm, Oslo, and Berlin utilize their underground culture to draw awareness to their neighborhoods at some point? They certainly have the names in punk rock and heavy metal that have helped their city's draw. Would smaller towns in the shadows of the more populated cities ever do the same to draw more awareness to their area based on their history within an underground culture? An example is Spain, where Madrid and Barcelona are the main tourist attractions with a historically solid underground music scene, but so do the smaller towns across the nation. Gijón is one of these towns, a seaside city in the Asturias region with its history of independent music and activity separate from the rest of the country. In the 1990s, the Xixón Sound (as the press dubbed it, primarily due to location over music) put a brief national spotlight on the town where bands like Australian Blonde, Manta Ray, Pauline en la Playa, The Undershakers, and many others were mixing punk, post-rock, 60s pop, and garage music to the point where the country's largest independent label, Subterfuge Recordings, began releasing music from the area. Another notable group that came up around this time is Doctor Explosion's garage punk group, whose founder Jorge Muñoz-Cobo Gonzalez is a 30-plus-year fixture in Gijón's independent music community. Muñoz-Cobo (or as he's known more as Jorge Explosion) doesn't have the large-scale cross-continental genre reputation that someone like Greg Ginn carries. Still, Explosion's nonetheless been a consistent and notable figurehead in Spain's garage punk world since the 1980s. He founded Las Munjitas Del Fuzz along with Doctor Explosion and co-founded The Ripe with members of The Black Angels. He has owned and operated the analog grounded Estudios Circo Perrotti since 2003, where he's done his part in increasing Gijón's tourism sector and tax revenue with his recording knowledge and reputation, bringing artists from around the world into the city for session bookings.
Explosion’s involvement in Spain’s underground world is extensive, with tours around Europe, Latin & North America, recording his material at home, in other European cities, or abroad in the US. Estudios Circo Perrotti has hosted genre peers around the world like Messer Chups, The Fleshtones, The Youth, The Night Times, The Jackets, and Surfer Joe, among many others. I gather from speaking to Explosion that he isn’t jaded, which gives credence to his down-to-earth demeanor and the ideas he freely shares about new angles he’s working on with singles off the new Doctor Explosion album, Superioridad Moral. This is an album he’s excited about, and rightfully so. Superioridad Moral is the first Doctor Explosion album in 11 years. The lineup is brand new, and the US label Slovenly Recordings is picking the album up for release and reintroducing America to these wild men from the Spanish northwest (Pennsylvania-based Get Hip and Keystone Recordings being the only other US-based labels release material from the band in the past). With some spare time in his schedule, Explosion answered a few questions for Gearhead readers who have yet to be familiar with the man or nothing about him. City officials in Gijón's Municipal Foundation of Culture, take note, please.
For those who don't know, how can you best summarize what Gijón is like to a person who's never visited the town before? What's the city's history with music that you remember from your early life, and has that history grown or stagnated over the years?
In the early 1980s, an explosion of new bands emerged in Gijón with the arrival of the New Wave and the echo of La Movida Madrileña. These bands were mixed with the hard rock and urban rock groups that were very trendy in Spain towards the end of the 1970s. So in Gijón, we had bands like La Banda Del Tren, Ilegales, Sombrero de Copa, Madson, Rimel, Los Ruidos, and others. Before these groups, there was another band called Crack who played experimental progressive rock in the early 1970s; back in the 60s, there was a vibrant Beat scene with bands fueled by teenagers who were dreaming of emulating such groups as The Shadows, The Beatles, and similar bands. These groups were Los A2, Los Sonis, Los Brios, and Salitre (the only band alongside Crack from of this scene to produce a recording!). The only band from this local scene that managed to become popular and, more importantly, maintained big international popularity even nowadays were IIegales, led by a good friend named Jorge Martinez. I had the luck of becoming friends with Jorge during a visit to my brother's flat in 1980, I was 11 at the time, and Jorge was 25. We're still very good friends, and he influenced me. Flash forward to the early 1990s, and another explosion of local bands, including Doctor Explosion, managed to capture the national press who dubbed us, along with other groups like Australian Blonde, Penelope Trip, Screaming Pijas, and Cactus Jack, among others, as the "Xixón Sound." They were emulating their contemporary indie heroes. Still, we always felt like we could never fit in because we loved The Remains, The Downliners Sect, and The Kinks. At the same time, other groups were hip on Red Hot Chili Peppers, Nirvana, The Lemonheads, Pavement, and in the case of Penelope Trip, a lot of obscure noise music. Screaming Pijas was the band of my best friend Luis Mayo; they were Garage Punk oriented like us. However, at the same time, I always admired the new talent writing lyrics about some of the Spanish bands from the early 1980s, like my friend Jorge Martinez along with Pistones, Polansky y El Ardor, Las Vulpess, Siniestro Total, Los Pegamoides, Parálisis Permanente, and Derribos Arias.
Tell us how you were raised in Gijón and first discovered your interest in rock n' roll culture.
I was born in a large family where I was the youngest of seven siblings, the biggest age difference between my brothers and me is 20 years (the eldest), and the closest I'm at is 12 years, and he played piano. I remember there always being a guitar in the house, and this instrument had me in awe. Looking back, I was also shocked that they gave me a 3-year-old boy's toy drum kit, but my parents quickly figured out their mistake and took the kit away because of all the noise I made. That was traumatic because I was happy playing that kit and wanted it back, but looking back at that event, it was the right call because at 16 years old is when I learned how to play the drums. My mother and brother played the piano. My brother Juan played in a jazz combo and listened to [John] Coltrane, Dave Brubeck, and Miles Davis. My older brothers also turned me onto classical music, children's stories, The Beatles, and groups of South American folklore like Los Chalchaleros. I grew up with those records, they were always playing at my house, and we had a big record collection. Records fascinated me; I spent the whole day playing them and even destroying them when I wasn't careful enough. The first time I saw The Beatles on television was when I was four or five, and that event left a huge impression on me. My brother Juan showed me a lot of bands from the 1980s, but my friend Luis Mayo turned me on to punk rock when I was around 13 years old, and then my other friend Jorge Illegal gave me his first single, Youth Revolt In Mongolia. From there, I began building my record collection, and our neighbors introduced me to bands. When I hit 14 years of age, I wanted to form my first band and write music.
Was Doctor Explosion your first band, or were you playing in other groups and happened to meet Alvaro and Felix before becoming bandmates?
My first band consisted of my friends Javi Mata and Piluco. We formed in the Fall of 1985 and played our first concert on December 20, 1985, at the Piles Institute (Piles High School) of Gijón. I played my brother's DX7 keyboard at that show and soon switched to playing the drums as the instrument had a stronger attraction for me. That's how our next band, The Sworn (Los Juramentados), started in the Summer of 1986. Then my family shipped me to San Luis de Pravia, a boarding school in Asturias, because of my failing grades. Looking back then, I must have been crazy at the time because I was the one who told my parents to send me there, probably because I felt guilty for having to take a year to repeat a course. I think this was when I became obsessed with music, and in October of 1986, I began playing the guitar and bass. I got a Hofner violin bass and used this to learn how to play a lot of basslines from listening to our records at home. I took guitar lessons with Jose Campa from the band Esquil y Los Mures, and Jorge Martinez from Ilegales taught me some tricks. Then in 1987, Varo and I became friends and began rehearsing with different bass and guitar players. Jorge then advised me to buy a Fender Jazzmaster in 1988, so that happened next, and the same year, we met Felix, a soul music fan. Myself, Varo, and Felix rehearsed James Brown's "I'll Go Crazy" together, and we formed Doctor Explosion afterward. Felix played great because he had studied music. At the same time, Varo and I were inexperienced, but we knew what kind of sound we wanted: garage rhythm and blues cut in the vein of early Rolling Stones and The Kinks.
Let's have you talk about the band's early years. You set a reputation for the band with the wild live performances, and were there parts of the country that didn't receive you as well as others? How were you all networking and setting up tours around the country and throughout Europe during the early days?
We were lucky enough to be embraced and supported by the Mod scene back then. This is interesting because I didn't consider myself a Mod. Still, looking back on my dressing like a member of a 1960s band and the fact I liked Northern Soul and R&B, the embrace makes sense. Varo was part of the Mod scene, though. We were the typical band that entered the Mod cannon based on our aesthetics. Alejandro [Díez Garín,] of Los Flechazos booked us as his opening act for a gig in León while touring off his second LP. We also played a Mod convention in Santander and Malaga, so little by little, we had the support of that whole scene, which was amazing. That scene is full of musically cultured and interesting people, fake people aside, most of the people genuinely love soul, ska, and R&B. Playing in the south of Spain was difficult just because of the distance since Gijón is way in the north. There are places in Spain we've never visited before, like Huelva, and we've barely toured through Andalusia compared to the north. We were mainly moving through the northern cities of León, Bilbao, and Galicia. Still, We would also visit Lleida, Barcelona, Valencia, and sometimes over to Madrid. Touring was difficult, but we always went where we were needed; it was fun and exhilarating to meet other freaks like us who were crazy about garage music. We sounded compact with a good beat and flow, and when we got on stage, we went crazy! Sometimes to the point where the show was out of hand, hahaha!!! That's a great feeling! We liked that anything at our show was possible with our audience if we generated the right energy and intensity in our performance, which came naturally to us. Seeing people jump and go crazy was a common thing at our shows. We connected with all sorts of people who could help us with booking logistics or at least knew how to set up and execute a tour. Remember that this was before the internet, too, and we found creative ways to pull tours off. True story, in 1995, I organized a European tour after piggybacking some work I was doing with the Red Cross! Back then, I was given the option to serve in the military or do social services at the Red Cross for mandatory civil service duties. I chose the latter cause I didn't want to cut my hair! I'd used the Red Cross's office to book a European tour. When my boss found a huge phone bill with calls to France, England, Germany, Switzerland, and all these other countries, he was pissed! I'd use the phone so much in that office for Doctor Explosion-related work that we'd receive calls from companies thinking that Doctor Explosion is a real doctor and ask for their services. The doctor is always on duty, haha!! We pulled contacts from our friends and got referrals from friends about people who liked garage music in a specific town. We'd call them on the phone, send a record or a tape, and then manage to get a gig out of it.
You took the reins of the band and left the country to see what else was out there for you all across the Atlantic, and that includes traveling to Seattle to record Viviendo Del Cuento with Johnnie Sangster at Egg Studios, embarking on a short West Coast tour of the United States and a fly in two-show date in Atlanta. Was this your first tour of the US at the time, and what were your impressions of touring the US back then and now that you've been here multiple times?
We wanted to see the world and get to know scenes in other cities. Regarding our first American, I have to say that I'm a little disappointed in places like Los Angeles but maybe because I had very high expectations for us at the time. We did a show in Hollywood, and hardly anyone came; that was tough, but we didn't know anyone in LA back then. San Diego was a better gig because we knew people down there like Mike Stax, and my friend Luis Mayo was living there. Atlanta was great, and San Francisco was quite the experience, we played at the Purple Onion with The Flakes, and it was nuts! Michael Lucas and Russel Quan from The Phantom Surfers and The Mummies took excellent care of us. Also, our Atlanta friends, Glynnis Ward from Feline Frenzy Fanzine and Richard Whig, did the same when we toured down there to play with The Woggles and The Subsonics. These days, I often travel between Austin, TX, and Los Angeles to visit friends, and it's interesting to see how different those two cities are from each other. Back in the 1990s, I often visited New York and saw my friend Paul Sommerstein who worked in Matador; around then, I wasn't familiar with the southern states of America. I revisited New York in 2016 to see my niece, Teresa, and explored the possibility of working at Matt Verta-Ray's studio. Then, I noticed how much the city has changed, especially in Manhattan; there's more of a scene in Brooklyn now, especially in Williamsburg. I'm not a fan of Manhattan anymore or many big cities; they're overwhelming, and I have my good friend Peter Zaremba to thank for saving me from New York's overwhelming world. In the late 1990s, America's independent music scene was much different. Looking back on the kind of music coming out then, garage music was way more marginal and underground than it is today. Lately, there has been a remarkable resurgence of bands in the garage and psychedelic genre.
There's an 11-year gap between Hablaban Con Frases Hechas and Superioridad Moral. What was going on with your work and life during that period that helped influence the songwriting on the new album?
A few things have been happening in my life that helped shape Superioridad Moral. Over the last decade, I was recording tons of bands Estudios Circo Perrotti and stocked up on so much gear (i.e., microphones, amps, guitars, rack gear). The constant collecting and work got me to the point where I was burning out. I decided to change my life by playing music more frequently and traveling worldwide as often as possible instead of locking myself between four walls and accumulating more gear. I often began traveling to the United States around 2012 to set up a recording studio over in Austin, TX, at a friend’s house, but he ended up moving, and the plan couldn’t go forward. However, traveling there was a great experience and a good reason to stay in contact with Austin’s music scene and check out SXSW and Levitation. I toured through Latin America in 2018 and 2019 with a lineup of Doctor Explosion featuring two insane Argentian garage-surf band members called The Abstinence; they were Juano Valdez and Facundo Delfino, who comprised the band alongside myself as a three-piece. Those guys are huge Doctor Explosion fans and not only played as the lineup, but they organized some shows for us in Argentina. I met them through their guitarist, Mariano, who was living in Spain and came to Circo Perroti, where he presented a plan for me that I acted on out of being adventurous to go to Argentina and explore the country. So, I traveled to Buenos Aires and practiced the set with Juano and Facundo. After our Argentina shows, we traveled to Brazil, Uruguay, and other surrounding countries. Mariano made me realize the importance of connecting with people playing rock n’ roll music worldwide. That experience played a huge part in Superioridad Moral’s development which was recorded in 2019 and mastered in 2020 at Abbey Road Studios. However, all the groups I’ve recorded in Circo Perrotti and the studio experience over the last 11 years have resulted in this record, which is crucial for me to note. Also, the original members of Doctor Explosion (Varo and Felix) reunited with me to form the band Las Munjitas Del Fuzz; we’ve managed to release four singles and have played quite a few gigs. So, you can’t say that we’ve stopped!
The new album also brings a new lineup of the band to the forefront with an expansion to a quartet, notably the absence of Alvaro and Felix. How long did it take to piece the band together, and how far back do you go with these new guys?
Varo and Felix left the band in 2001, and all three of us reformed as Las Munjitas Del Fuzz in 2016. Doctor Explosion's lineup over the last 11 years has been Pibli Gonzalez on drums and Pablo Alvarez on bass. They're featured on this new record. Pibli plays in eight different bands. Although he gives Doctor Explosion priority over some projects, he doesn't give us an absolute priority. For that reason, when we played Wild O'O' Fest in Mexico in 2019, I used the lineup that played in Argentina the prior year. The same issue arose when we were preparing to tour this year, and Pibli couldn't tour with us because of conflicting dates. Finding a drummer in Asturias to replace the guy was difficult, and I traveled to Madrid to meet Conrado. I telephoned him and explained the project; he was very much into the situation. In 2019, Conrado was playing in a band called Cooper with Dani Montero and Alejandro Flechazos. When that band ended, Conrado mentioned that Dani could be interested in playing with us, so I initially traveled to Madrid to practice with Conrado and Dani. Cesar Crespo also lived in Madrid, and I wanted him in the project. Still, I waited until we got the sound right as a three-piece like Doctor Explosion always ran before bringing Cesar into the mix. Before Cesar joined, he and I organized the guitar work together between two guitars. Cesar is someone I was very keen to work with. We met at Circo Perrotti when he recorded two different projects in recent years. He seemed ideal to incorporate as a fourth band member. Superioridad Moral was already finished when he joined the band. In 2021 we all rehearsed together, but in January 2022, Pibli informed me that he couldn't play some dates we had scheduled, so that when I began looking for a substitute and found one in Madrid, which ironically is where all the members of Doctor Explosion, except myself, currently live. Despite the distance, we've been rehearsing quite a bit, and the band sounds very tight. However, we have much work to do because I want to see how this lineup grows as a group and sounds in the studio.
How did you want Superioridad Moral to stand out from the other Doctor Explosion albums, and what challenges did you put yourself through to see that it truly did?
The challenge was to get a very wild, exciting sound without compromising our garage sound, not losing aggression yet simultaneously holding a degree of radio commercialism without overproduction. That was the real challenge! Keep the wildness and sound quality without losing any rawness in the mix or sounding fake. Another challenge was to write the lyrics and balance personal subjects and topics I felt comfortable writing about that escaped conventionalism and cliches. That is personal, and I felt comfortable, even seeking to surprise me constantly. I wanted the texts treated as a truthful character expressed from my point of view. To say things I genuinely felt and to tell my own stories from introspection while keeping my voice excitable and credible in delivery.
You've done quite a lot in this business, but is there anything else you'd like to do with the band before deciding to hang it up?
Yes! I want to explore more in sound and production by producing better albums and writing better songs. Doing all this is what amuses me most in life, and I plan on being active in this world until my body gives out. I want to work with other producers, but I’m also afraid of losing creative control by putting my work in the hands of others; that’s something I’m working on overcoming. I have my own work system, which includes a lot of studio improv and composing on the hoof.
What advice would you give someone who wants to follow the same path as you?
Always have fun doing what you do. Work harder than I have and learn to sing and play well; that’s the key. The other key is to tell authentic and genuine stories to people.
Give Gearhead readers your Top 5 albums, don’t hold back.
You’re asking me the impossible here, haha! I can’t just do a “Top 5”, no way! I have to go with “Top 5 of Soul”, “Top 5 of Today’s Group, and "Top 5 of Garage", plus singles! Tell you what, here’s my Top 6 of the pile of discs next to me; enjoy!
The Kinks - “All Day and All Of The Night”
The Cookies - “I Never Dreamed”
Sanford Clark - “It’s Nothing To Me”
Gal Costa - “Baby” (but I’m going to tie this with “Se Telefonado” by Mina!)
The Zephyrs - “I Can Tell”
Link Wray - “Deuces Wild”
Keep up with Doctor Explosion through their Facebook page and pre-order Superioridad Moral from Slovenly Recordings before it takes the band another 11 years to produce something new.
Interview by Eli Grisham.
The Anomalys - Glitch
Scrutiny by Die Heiden
Twelve years is a bit of a stretch between album releases. However, when your band is called The Anomalys, this practice of releasing an album every three US presidential election cycles may as well be considered normal. It’s great to see this Dutch punk n’ roll unit restart the machine with their longtime home Slovenly Recordings releasing the band’s second album, Glitch. A big thing to point out with Glitch is regardless of the album gap, these three guys haven’t rusted one bit (a slew of single releases and tours in between helps that), and this new lineup of the band exhibits more power and command in the songwriting than prior lineups have.
For those unfamiliar with The Anomalys, this trio is one of the first bands signed by Slovenly Recordings back in the label’s early 2000s salad days. Slovenly has also stuck by their side ever since releasing The Anomalys 2005 debut single, “Black Hole Blues/Nat Approved” and has five other releases from the band in their catalog. It wouldn’t be until 2010 for The Anomalys to release their first record and follow it up with a slew of world touring on the heels of its release. For seventeen years, The Anomalys can credit their run across the world due to the efforts of their founder, Bone, whose writing background extends through punk rock, garage beat, and surf guitar. Throughout the years, Bone and crew have thrown all three styles into simple three-chord songwriting structure-gone-hyperdrive that gets the sweat pourin’ and the asses shakin’ from people packing the nineteenth-century church halls of Amsterdam’s Paradiso to Austin, TX former 1960s roadhouse bar, The Legendary Swan, to the southern hemisphere of Curitiba for Psycho Carnival. With Glitch, Bone enters a new era for his band by roping in two Frenchmen who, like Bone, are lifers in the wild world of Euro garage punk as Looch Vibrato (The Magnetix, Louder Than Death) and Remy Pablo (Weird Omen) round The Anomalys new appearance. Glitch being this lineup’s grande entrée, this lineup has already laid down a preview of things to come from their camp with 2019’s Trooper EP release. That EP could be considered a practice run however, there’s a better representation of how these three sound together on Glitch.
A goddamn powerhouse rock n roll kamikaze is a dead-on term to use when describing this record. Bone n’ Looch n’ Pabo rip through nine songs in a manner that confirms veteran punks can and DO throw down harder than the young newcomers in the genre. However, their level of play on this record could be stemming from two scenarios: Are Looch and Bone keeping up with Pablo or vice versa? Either way, Pablo’s drum work is a highlight throughout Glitch as his command and variations on BPM keep Looch and Bone skintight and in rhythm with each other. At the same time, he puts on a clinic for 20 + minutes. The proof in this statement lies in the two instrumentals with the high-octane surf “Panic” and Bone and Looch’s neurotic riffing mixed with Pablo’s atomic clockwork on “Anomalys Rise.” Pablo’s work stands out immensely on Glitch, but of course, the bright mixing from producer extraordinaire Lo Spider plays a part in Glitch’s balls-to-the-wall sound. Glitch’s cut of “Trooper” has a more urgent sound in the mix that isn’t featured on the 2019 title track of their Trooper EP, almost like the band is recording during the 11th hour of a session, and there are no do-overs allowed. The in-sync performance from the trade-off surf licks between Bone and Looch make it seem like these have been regularly rehearsing and playing with each other for years despite their geographic distances. Among the hi-speed exhibited throughout Glitch, the trio makes time to slow the tempo and have Bone wail and grieve in melancholy over fallen comrades with the slow waltz groove of “Dead Friends.”
Glitch is just additional proof that The Anomalys never needed a shtick, gimmick, or anything outside of their ability to write hard-hitting punk n’ roll songs. Twelve years later, they’re still doing just that and don’t need to deviate from what they’re good at. If they take another twelve years to make a third record, I doubt their approach will change, and that's totally cool in this jerk's book.
Get down with The Anomalys over at Slovenly Recordings or visit their Facebook page for their updates.
Pre-orders for the Glitch vinyl can be found here with the digital release coming out everywhere on February 18th.
a new era of Blurring the Lines Between Reality and Surreality, The Great Comeback of the Weekly World News!: An Interview with Editor-In-Chief/CEO Greg D’Alessandro
1979, the year of Ayatollah Khomeini, Sony introduced the Walkman, Michael Jackson released Off The Wall, and Ridley Scott launched a new era of space terror with Alien. That year, a few black and white printing presses in Montana were saved from obsolescence and given a new lease on life. Generoso Pope utilized the older equipment to print a sister publication to coincide with the newly colorized sensationalist tabloid, National Inquirer. Hollywood scandals will always be the Inquirer’s territory; this sister publication’s job is to report that space aliens influence US policy, and cryptids live among us. They could very well be your next-door neighbors.
The outrageous headlines, bold columns, and rudimentary graphics of Weekly World News left an undeniable impact on our pop culture that’s touched American politics, music, and movies. During the print years from 1979 - 2007, the lower rungs of a supermarket shelf and our newsstands was stacked with this tabloid filled with fictional stories about politically charged love triangles between extraterrestrials and the Clinton family, a half boy/half bat creature enlisting in the military to lead the hunt against Al Qaeda, Elvis sightings across Michigan, and Satan’s face emerging in the sky over various global disaster sites or randomly appearing in small towns like Waco, TX. The satire was in your face but also sometimes enough to blur the lines between people’s perceptions of what’s factual and what isn’t. In 2010, Fox News sourced a story from the tabloid as accurate regarding LAPD spending a billion dollars on 10,000 jetpacks for their force only for then LAPD Chief-of-Police, Charlie Beck, to publicly refute the claims. The following year, Facebook sent a press release in response to a Weekly World News article that influential technology blog, Mashable, inquired about the technology giant’s looming shut down.
Weekly World News left its mark in other aspects of the cultural media landscape, with character references featured in American Dad and Family Guy to influencing songs written by L7, Lunachicks, and even Weird Al Yankovic. After a period of dormancy in 2015, the Weekly World News has launched a comeback into print with the first issue in 15 years celebrating the tabloid’s iconic covers and is ushering in a new era of multimedia for the brand’s universe of character with the creation of Weekly World News Studios. We discussed the upcoming plans the new Editor-In-Chief/CEO, Greg D’Alessandro, has in store with Weekly World News and his long association with the brand starting as a freelancer to becoming the man in charge in 2019.
Give us a history lesson of your background. Where are you originally from and how did you initially discover the Weekly World News? What was it that drew you to the tabloid and eventually pursue an interest in writing for the paper?
I was born in Brooklyn, grew up in New Jersey, and majored in Theatre and Music at the University of Notre Dame in South Bend, IN. While in college, I became a playwright, and Notre Dame's theatre program turned one of my plays into a main stage production during my senior year. After graduating, I toured the world as a jazz musician playing for many people, and started a Jazz record label. Amidst all this music, I continued writing and moved back to New York, where I wrote plays produced off-Broadway and Off-Off-Broadway, and I got into stand-up comedy. That was my life. As much as I enjoyed writing for theatre, I wanted to do more and was looking at attending either Yale's drama school or USC's film school. I sent off two applications, and both schools accepted me, but a conversation with playwright David Mamet convinced me to go to USC School of Cinematic Arts. Not only did I get an MFA there, and another MFA from UCLA School of Theatre Film, Television and ended up teaching at UCLA's Extension Program. At the same time, I was pitching projects as a screenwriter and TV writer. One company I had a meeting with was National Lampoon. At the time, Neil McGinness was an executive there before becoming the Editor in Chief of Weekly World News. I pitched him some ideas, Neil was into them, and we got along great and kept in contact. In 2007, when Neil left National Lampoon for Weekly World News, he learned I had published many articles in Weekly World News since 1999. Neil then asked me to start writing regularly for Weekly World News, and I continued to do so.
I've written over 5,000 articles – in the print edition and online. We were doing well, but Weekly World News went dormant in 2015. We relaunched in 2019 when I was named Editor-In-Chief and the CEO.
I knew about Weekly World News when I was growing up. Like everyone else, I found it in the supermarket and found the content fun and fascinating. I loved Mad Magazine, National Lampoon, Monty Python, and that kind of surreal, absurd humor. I loved imaginative ideas about biblical prophecies, conspiracy theories, beings from outer space and other dimensions, parallel universe, and time travel. Weekly World News fits my sensibility because I've always been a comedy writer and enjoy exploring different ideas. That's what made Weekly World News so appealing to me; it explores the truth - about what is true, real, and out there in this world and the universe as we know it.
What opportunity was extended to you which kicked off your career with the Weekly World News? What was the atmosphere like in the Weekly World News office and who gave you your first assignment?
I wrote for Weekly World News as a remote freelancer from 1999, presenting articles and discussing ideas with editors, and began working for them regularly in the office from 2007 until 2015. Credit goes to Neil [McGinness] for signing me on as a writer/editor. I enjoyed the interaction with other writers; it’s a blast bouncing ideas off people who have similarly wired brains.
What era in the paper’s history did you start under and can you tell us about what it was like working with the old editorial staff and what their expectations were for their writers each day?
Writing for the Weekly World News was never my full-time gig until I started running the brand in 2019. The pitch meetings I had as a screenwriter helped get me on the current path with the brand. Execs would ask about other projects of mine, and that’s when I’d discuss my work for Weekly World News. They would always smile and tell stories about Bat Boy, the different headlines, and the universe of characters. There was excitement about creating a film or a television show based on the WWN universe. Hearing executives talk about the value in the Weekly World News universe reignited my passion for bringing the entire WWN universe to the world. I began pitching many properties from Weekly World News to different Hollywood production companies. After several years we are now making deals to get WWN characters and stories on TV, film, and podcasts.
When you reflect on all your years writing for the paper, what kind of personality does it take to last as long with the Weekly World News as you have?
You have to have a great imagination; you need to be open to notes and take criticism. Above all, you need to be a thinker. Think about things in different ways and from different angles. Take this example: is the earth round, or is the earth flat? Everyone says the earth is round except those in the Flat Earth Society, for whom many things are crazy! HOWEVER, maybe it is both flat and round. Perhaps the earth is like a living, breathing organism. You need to think outside the box here, be a good writer, constantly create, and more importantly, you need a strong work ethic. You have to write many articles; you have to wake up each day and generate new ideas. Many people have tried to write for Weekly World News, and the usual pattern from most of them is that they write a lot of articles for a short time and then run out of gas. The ones who stay are team players, funny, and consistent. That’s what I’m looking for.
Can you describe the various cultural changes throughout your time working there and what did you want to bring back to the fold, now that you’re running the show?
I want to go back to the original vibe of Weekly World News, a room of four to five like-minded writers and editors who share ideas and decide what stories we want to focus on. We currently have writer meetings twice a week, usually via Zoom, and we bounce ideas and stories off each other. I want to bring back that camaraderie among writers; that’s my goal. I want to diversify our writing team and bring different viewpoints and backgrounds into the mix for cultural purposes. Satire publications tend to be staffed by a majority of white writers; I don’t want that. I’m not saying this simply because diversity is the buzzword these days; I want WWN to reflect the current world we live in. WWN has changed a good deal since it started in 1979, and I want different voices with a consistent ability to write every day, come up with many other ideas, and be funny.
When and how did you know that 2019 was the right time to relaunch Weekly World News? Were there any insights from long-time readers here and abroad that were asking about the tabloid's status and what information did you find out about readership and demand where it only made sense to go back in print and get the word out?
In 2015, Weekly World News temporarily ran out of money. I’ve been very passionate, incredibly passionate, about WWN for years. Anyone who knows me knows that I am consumed by the desire to revive WWN and bring it to a new, higher level. When American Media sold Weekly World News in 2007 to an investor group in New York City, I kept pitching it in Hollywood. The idea of letting this brand go was unfathomable to me. Everywhere I went to pitch the brand, people loved hearing about the Weekly World News characters. Bat Boy, Lake Erie Monster, Manigator, and many others. Many were people who grew up in the 1990s and into the early 2000s. They’d cite past articles and would express enthusiasm and joy for stories we published. Weekly World News touched millions of people in the United States. We did have a print circulation of over 1.3 million at our peak. Once we went online, audiences from England, India, South Africa, Japan, Australia, and other places worldwide found out about us. I was relentless about not letting this go by the wayside and eventually die off. Hence, the owners said, let’s get this thing going again. Have Greg run it. That’s how it happened.
Tell us about your team who you’ve brought on to help further develop Weekly World News and their history with the paper?
The team we have now is fantastic. We have two screenwriters who have written many movies, including Ed Naha, who wrote stuff for Roger Corman and the script for Honey, I Shrunk The Kids. We’ve got a couple of people who’ve written for The New Yorker for a long time, a few other TV writers that are on deck. We’re cultivating two great writers from the advertising world - Alex Colvin and Matt Jones. We have Maya Knell, who is doing our popular video reporting as Cordelia Bunk. Another popular field reporter is Lester Caine. He’s played by Jeff Penalty, who was the lead singer for Dead Kennedys for a period of time.
Since becoming the boss, you’ve hit the ground running with the relaunch of a new print issue and the recent announcement of Weekly World News Studios with Zombie Wedding as being the brand’s first movie in development. What other new media plans are in development (that you’re willing to speak about) to push the brand past just being online and a print brand?
We have a lot going on with the Film/TV side of the business. This has been our biggest priority because it will give Weekly World News the most significant exposure to new audiences, along with people who know and love the brand. We have a deal in the works with a Weekly World News documentary moving forward; the documentary is all about our history going back to 1970. We’re moving forward with talks with Warner Brothers about a TV series and another one with Paramount TV. I’m also pitching a show with Adam Rifkin; he directed Detroit Rock City and the Burt Reynolds film, The Last Movie Star. He’s a fantastic writer, and we created a show together about Weekly World News that’s received a great response. But as we’ve been involved in pitching and producing for a while now, we know it takes time for anything in Hollywood to take off. We wanted to get things done while we continued to move items through the Hollywood pipeline. Our solution was creating Weekly World News Studios, where we’ll be producing independent movies and TV series content on our own. We have three projects on our slate already. The first one is Zombie Wedding, which is based on an interactive play run from 2016 - 2019. Zombie Wedding was written by me and produced by Joe Corcoran, who produced a long-running interactive play called Tony and Tina’s Wedding; Joe is considered the father of interactive theatre in New York. Zombie Wedding was scheduled to open in downtown New York for a long run in 2020, but the pandemic halted it. Those plans fell through. So we decided to turn Zombie Wedding into an independent film. We have a fantastic director, Tonya Pinkins, who is a highly respected actress, producer, and director. She’s won two Tony awards and is a world-class singer. If you listen to her, you’ll agree she’s one of the best in the world. She just directed her first feature film called Red Pill, and Zombie Wedding will be her second feature.
With all the new sites that have popped up over the years that parallel WWN, this tabloid never officially retired and therefore doesn't fall into that "legacy" status. From your time with this paper, what do you know is the primary driver for keeping the Weekly World News going and relevant in today's marketplace?
Maintaining relevance, that's the big thing. Keeping Weekly World News relevant is the significant primary driver. We don't want to be known as a legacy paper, we're not dead and such, and we don't want to rely on older content. We're evolving with the world and adapting our stories to the current culture. We have to keep expanding. The goal has always been to get Weekly World News into Film and TV, and we're aggressively going after that. We want to explore ideas like the metaverse and living in "the simulation." Weekly World News has 300 characters in our universe, and we introduced a new one this year called Little Monkey Man that people seem to love. He's a funny, great-looking character who happens to be a Miami DJ. People dig it. As we continue publishing online, we also intend to get back into print. That's another goal we're aggressively working towards. We want to get Weekly World News to more people and bring our characters to a larger, new audience.
The first print issue of Weekly World News in 15 celebrates all the iconic covers throughout the publications history and is available through their website.
Is Ed Anger as furious as ever with the events today?
Not only is he furious, but Ed’s also one of the more popular characters in our universe. Ed Anger was created by a slightly left-of-center writer who wanted a satire of someone like Rush Limbaugh. He had crazy articles about paving over the rain forests, giving teachers stun guns to control children in school, just really over the top stuff! However, Ed Anger became real with guys like Bill O’Reilly, Glen Beck, and Alex Jones. Ed Anger influenced even Stephen Colbert. Today, Ed Anger’s column doesn’t work like it used to because what he’s saying feels real. So we’re countering this by pairing Ed with his daughter, Kim Anger. Ed Anger is 83 years old now, while Kim is in her late 50s and highly left-wing. She will counterbalance Ed’s extreme right-wing views. Both Anger family members are upset with many things going on today, so we have two polarized viewpoints going in together on topics. We’re working on a show where both Kim and Ed go out there as a team.
For anyone interested in working or contributing for the Weekly World News, what kind of gusto are you looking for in writers?
We’re looking for ideas, and we take submissions at firstname.lastname@example.org or email@example.com. We get many submissions. People are very gung ho when they send us a few articles initially and then disappointed when they don’t all get published. Still, we’ll pick up one and put it out. Everyone uses a pseudonym. I would tell writers to keep sending us stuff and keep generating ideas. Everyone that writes for us has a lot of ideas every day, and that is the key. It’s writing every day and not waiting for inspiration. That’s the key. Just sit at the desk, get to work. I was writing four or five articles a day at one point online.
For anyone who wants to walk a similar path as you, what’s the one piece of advice you can leave out of all the years of experience you’ve accumulated?
I don’t want to sound cliche but never, ever give up. Never quit. Keep learning, keep grinding each day. Again, it sounds cliche, but it’s the absolute truth. Don’t repeat the same thing over and over again. Listen to feedback, take what you think is valuable, take notes and suggestions positively, and keep improving 1% a day. The best writers I know are constantly writing and always aiming to get better. I can’t stress that enough, especially if you’re passionate about this writing. Just keep grinding away and always try having fun. Come join the Weekly World News Army!
Weekly World News Online
Interview by The Heathen
I first saw Reverend Beat-Man live back in Summer 2000 at the Las Vegas Grind weekend. He put on a jaw-dropping show of raved-out, hopped-up Gospel Blues dementia that left me agog at the energy and excitement of his show. I had just started Gearhead and was at the gathering of the century for a blasted-out garage-punk rave-up weekend of dirty rock n’ roll, raunch and roll, rock n’ roll and all out celebration of the Garage-punk revival.
I specifically remember Beat-Man Zeller’s demeanor after his set too , he was humble and wreathed in genuine smiles of appreciation. He was gracious and kind, the psychotic trash blues mayhem he had channeled during his show was completely gone. Drenched in sweat, he smiled and was appreciative of my gushing wonder and enthusiasm. I had been playing his records on my radio show at KDVS and was so excited to meet the man behind the records in person!
Beat-Man had started Voodoo Rhythm several years earlier and already had his finger on the European pulse with the string of releases from psychobilly trash garage bands he put out. THAT’S what I wanted to do with Gearhead.
Over the years, I’ve watched Beat-man slog on, year in year out, releasing trashy treasures, perform, host festivals and follow his own inner vision guided by the spirit of early Elvis and Sun Records, bringing to the twenty-first century the raw ecstatic excitement of those early days of rock n’ roll. To keep something going this long is a testament to his passion. You run on empty, constantly giving of your own energy, fueling your creations. Having run my own label and festival, the exhaustive amount of energy it takes to keep going is mind-numbing at best, lonely and disappointing at the worst.
Yet he keeps going, no matter what. I am honored to consider him a friend and mentor. Happy 30th Anniversary Beat-Man! You are a true legend and your vision, passion and stick-to-it-ness a true inspiration. (Rev. Michelle Haunold Lorenz - Gearhead)
1992, a year where the big wig culture mongers hyped up the working-class aesthetic as being "in" with their peddling of flannel and shredded blue jeans as socially acceptable garb. Surreal to think there was a time when "slacker chic" and punk rock were receiving big-dollar marketing budgets. Hey, at least we were educated about something actually happening in small towns like Aberdeen or Bellingham, WA (let alone knowing these towns exist!). The Pacific Northwest was the center of the cultural universe for that short period partly because of the media hoopla and major-label bidding wars sparking a frenzy of signing whoever sounded like Black Flag and Black Sabbath, Killing Joke, or The Vaselines. This period of rock music history has already been talked about beyond a dead horse beating; other stuff was happening in far-off places.
Voodoo Rhythm Records, a label and currency 5,000 miles removed from American soil, couldn’t have cared less about the New World’s manufactured “alternative rock” craze all the major label marketing departments spoonfed its youth culture at the time. This averse attitude of marching to their own beat is why they’re about to mark 30 years in business in 2022. Aside from Gearhead here, what other small companies from this era are regularly putting out underground rock n’ roll?
What initially began as a vessel to release a Swiss garage rock compilation has grown into a full-fledged label and publishing company with 100 + LP titles and countless singles to their catalog. Beat-Man, or Reverend Beat-Man as he’s known globally, is the high priest of the fringe roster over at Voodoo Rhythm Records. A rock n’ roll lifer and enabler himself, his responsibilities include giving a platform to worldly and genre-crossing groups like the garage n’ soul of King Khan & The Shrines, the lost recordings of obscure UK rockabilly artist Jerry J. Nixon, the rust n’ sweat garage blues of The Guilty Hearts, and the one-Frenchman wrecking crew that is King Automatic amongst countless others.
Voodoo Rhythm Records, like its peers, has been through consumer taste changes, the digital revolution, recessions, and recently a worldwide pandemic. They’re still here, still kicking and about to commemorate three decades of not backing down with a new label compilation celebrating the label’s past and showcasing its future and another album from Swiss chainsaw-punk maniacs, The Monsters. For those new to the world of Voodoo Rhythm, these compilations are a good starter kit for what makes this Bernese underworld tick and grind together. Beat-Man was kind enough to dedicate some time listing the five albums that shaped his being and encompass the “Records To Ruin Any Party” mantra of Voodoo Rhythm. This list below laid the foundation for Reverend Beat-Man’s early interest in the rock n’ roll realm and why they’re so significant to him.
Reverend Beat-Man. rock n' roll lifer.
Hasil Adkins - Out To Hunch
“When I first heard Out To Hunch, I was into the Rolling Stones, Mersey Beat or rock’n’roll like Elvis, and Gene Vincent etc. But when I heard Hasil for the first time on that Rockabilly Psychosis compilation that Big Beat Records released in 1984, I was just blown away by the dementia in his voice. I imagine this was recorded towards the end of the 1950s and punk music like that was played in churches or bars around Madison. Anyway, I was so blown away that I quit my job in Switzerland and booked a ticket to the USA where I bought a car and traveled around for a half year and I found him! It was pre-internet or Google era. Hahah, anyway I had a lovely time with him.”
The Cramps - ...Off The Bone
“I first heard of The Cramps in probably 1980 or 81 from my older brother. He had a friend in Berlin, and they exchanged tapes, both of them were more into goth stuff like The Residents, Neon Judgement, Cabaret Voltaire, etc. The Cramps were on one of the tapes, and I said that I want that, so that’s when I became a Cramps fan. I tortured my local record store to order their LPs for me; I had only three albums and about 100 bootlegs, haha! They were amazing, and Nick Knox is, for me, still one of the most ridiculous caveman drummers of all time! I love Nick Knox’s drums !!!! His drumming changed my life forever while listening to his music.”
Einstürzende Neubauten - Kollaps
“When I was a teenager, I was completely against everything, everybody, and I hated almost everything, and I loved it. Einstüznde Neubauten was the soundtrack for all those feelings I had inside me. My parents hated the guts out of that music coming from my room, hahaha! It’s just fucking noise, and this was just my thing; the band taught me that you can write songs; differently, not all music needs strict structure and solos, etc. It just needs a lot of noise and something that attracts your attention. Anyway, when I saw them live, they blew away their recordings for me. I wanted to do something similar, and as a teen, I played in a local industrial band in the early ’80s, but I was a big Elvis fan. When I started my one-man-band project Taeb Zerfall then Lightning Beat-Man, my idea was to cross Neubauten with Elvis. And I did, haha!”
Howling Wolf - More Real Folk Blues
“When Janosh (bass player for The Monsters) and I lived together for a couple of years, this was the record we listened to the most. It’s one of the best LPs ever made. The songwriting, the recordings, and the drumming, etc. When I was a child, my dream was to be black but look at me, I’m bloody white, haha!! So, they called me the White Wolf here in Bern. <3”
Venom - Black Metal
“I grew up in Switzerland’s countryside with bands like Status Quo, AC/DC, and Motorhead. However, when Venom came, my metal years were over; you can’t top that band. For me, Black Metal is the best rock n’ roll metal album of all time. I mean, for god’s sake, it’s all in there: teenage angst, teenage hate, blasphemy, and a lot of fun. My parents hated that album; it was perfect for a growing teenager. Sadly, I never got to see them and wanted to go to their first Swiss show when Metallica toured with them as their supporting act, which was Metallica’s first show outside the United States. I was young and scared too, my friends and I got beat up by other metal fans cause we wore jean jackets. That’s when we thought that in Zürich, the other metalheads must be more extreme, haha!!”
Pick up Voodoo Rhythm Records Label Compilation Volume 5 here.
Voodoo Rhythm Records online
Words by The Heathen
I had just started my new job and was googling something on the web, enthusiastic to be putting my writing skills to work for my new employer, but my hands froze on the keyboard and my blood ran cold when I saw the headlines pop up: a local automotive journalist had gone missing. Clicking on the banner, I was stunned to read that the missing journalist was Davey G. Johnson, a one-time editor of Gearhead Magazine.
I read with shock and numbness the details of his disappearance. Traveling back to Sacramento after taking a bike out on a test drive for an article he was writing, he was just a few hours from home when he stopped at the side of the road, apparently to rest and take a quick dip in the snow-fed river that wound through the mountain pass he was traveling on. There were pictures of his last text to his girlfriend and a photo he had texted of himself to a buddy; he is bare-chested sitting down.
The authorities had found his motorcycle parked purposefully, with his helmet and gloves balanced on the seat. Further away, his laptop, phone, some clothes, and his backpack rested on the shore. Search teams and sniffer dogs scoured the area over the next 10 days looking for traces of Davey, always leading back to the river’s edge. Late in the day June 20, 2019, they found his body, washed downstream in a local reservoir ending the worry and anxiety that had gripped our close-knit community of automotive and lifestyle journalists for almost two weeks. Accidental drowning is the believed cause of death, but there were few clues about what happened to a man who spent his life on the road.
Shock, disbelief, and a deep sadness filled my heart. And yes, anger. Anger flooded my body as quick as molten lava in the next split second because he grew up in an area where late spring snowmelt turns rivers and lakes into surging death traps; he should have known better! I was angry at him for leaving his new fiancé alone to struggle with the unanswered questions, never knowing for certain what happened.
It had been many years since Davey and I spoke. We were once so close as we worked together on Gearhead issues #12, #13, and #14 in the early 2000s with Davey sporting the editor's cap and me supporting him as owner/publisher. Being close to fifteen years older than he, our relationship was more that of big sister and little brother than that of editor and publisher.
His giddy joy at being tapped to head up Gearhead bubbled out of his body like so much foamy beer poured too fast in a warm glass. He was ecstatic, ebullient, literally bouncing with joy and enthusiasm at the opportunity that landed at his feet.
But on the flip side, like the two sides of a tarnished coin, he was also crushed with heartache and struggling with depression and despair, lacking confidence and consumed with grief from having just been dumped by a girl he thought he would share his life with.
We spent many hours together in person and on the phone; me encouraging him to focus on his work as therapy and healing, and he wallowing in heartache. Flipping back and forth between gratitude for his new position and despair at ever finding a partner to share his life with, he proceeded to produce three of the best issues in the Gearhead library.
His style of writing was just like his style of living: a mash-up of punk rock attitude and clear-cut automotive authority. Snarky and pointed at times, but also sweet and complimentary, I was amazed at his ability to mix these various attitudes and write with such a clear personal voice that it felt like he was there talking to you.
After those three issues, Davey stepped down, handing back the editor hat to my former partner, claiming it was just too much responsibility and too overwhelming to continue. He was so dedicated; he threw his whole heart and soul into his work. But he was also deeply self-critical.
He worried he wasn’t living up to our expectations, but I encouraged him to keep going, but he declined and went back to freelancing, doing what he loved; prodding and poking and being free to work when he chose, with no rails closing him in.
He moved on to write for many well-known publications and we lost touch. I had reached out several times over the intervening years but was met with silence from the other end. I don’t know why, but I never stopped being proud when I read one of his amazing articles, his voice shining out loud and clear, that giddy little kid thrilling in the ability to shock people with his punk rock references and then pulling them in with his stunning automotive knowledge.
Mixed emotions still tumble around in the pit of my stomach like river rocks being tossed by a violent current. Right after his death was announced many tributes that flooded the Internet honoring this incredibly complex man; some beautiful, some thoughtful, all impressed with his knowledge and style. It has been a year since his passing and I am still struggling to put words to what I am feeling. I wasn’t sure I had the right to pay tribute to him. But throughout this year, I’ve thought a lot about how much his life and death impacted my life.
.These memories will forever be frozen in time. We will never have the chance to reconnect, and I will never have the chance to tell him how proud of him I am, and how happy I am to see he finally found the love of his life.
As I write, I wonder, do I have a right to mourn someone who no longer was a part of my life? The tears well up and spill down my cheeks when I think of his deep yearning for love and companionship and I ache for the woman he left behind. Even now, one year later, I struggle with this bitter twisted mix of anger and sadness, numbness, and grief. His giddy giggle haunts my dreams now.
What happened? Why did we stop talking? I don’t know. When my former partner in Gearhead and I split up, deep gaping crevices in both our business and personal relationships appeared. It’s like a divorce you know? Once a couple splits up, friends inevitably take sides. I don’t know if that caused our drifting apart but it could be. I will never know.
We use to talk deeply and personally about our heartaches and shared experiences of longing for love only to have those hopes and dreams smashed to the ground by betrayal or apathy. We didn’t talk about cars much; music was our shared language of pain and grief, hope and excitement, and joy.
He touched my life at a pivotal moment in time when I was struggling after my divorce to find my voice and authenticity and to define myself separately from the looming shadow of my business partner. Davey helped me find my voice as he searched for his. He gave me the freedom to dig deep into my soul and share the language of passion as it related to our silly little punk rock hot rod world of Gearhead. His voice gave me the courage and confidence to write with my voice.
When I wanted to write about Dwight Yoakum, he encouraged me, even though country music at that time was far from cool. He urged me to explore it because it mattered to me. That is what I most remember and mourn now as I think about Davey.
He was fearless in exploring his overlapping passions, mixing them into the same article with such authenticity and sincerity that it left those reading his words laughing and shaking their heads in amusement. I wonder if he knew how much he was admired, and how inspiring he was.
This morning, I crawled up in the hot dusty attic looking for the old cardboard box of Gearhead press clippings I have saved over the years. I have a vivid memory of a story Davey did for Drive magazine back in 2002, when he sweet-talked the manufacturers into letting him take a Prowler on the road to Texas to be part of Gearhead’s first US Gearfest in Austin, TX.
Somehow he was able to write an article about The Prowler in the context of the festival and the story went to print with a mix of punk rock mayhem combined with the technical savvy using Gearhead bands and Gearfest as the backdrop for the story.
I haven’t opened up that box since I taped it shut with clear cellophane packing tape years ago as if I was taping up old cherished love letters. I knew this treasure trove was there, just waiting for the right time for me to feel safe enough to dig through the faded ink and weathered paper; to allow my heart to celebrate the events and people long gone from my life, not by death but through attrition or the desire to move in a different direction in one’s life.
As I dug through the dusty files my heart leaped every time I found a new article I had forgotten about. It was a walk down memory lane, and one of deep validation.
But I didn’t’ find the article I was looking for. I have such a vivid memory of seeing that article; I recall there’s even a picture of Davey and me with the Prowler. Why didn’t I save that? It seems like something I would have kept and cherished as it involved a moment in time that was so pivotal for me.
Mostly though, I just wanted to re-read Davey’s words and see how he managed to meld Gearfest with a review of the Prowler. I'm sure it was cheeky and irreverent but relevant to the reason he was loaned the car in the first place. I reached out to Drive Magazine, but it is under new ownership and they had destroyed all the old files.
Maybe not finding that article is just as well. It is a symbol of a time long forgotten, of relationships turned to dust, of music and friendship and bombastic coolness wrapped around faded memories like a rich piece of smoky bacon wrapped around chicken and grilled to perfection; delicious, satisfying and stored in the memory banks to be savored in leaner times.
I tug at these memories and find peace and stillness in my heart. Even if I can't find that old article, I have the words he wrote for Gearhead right in front of me, and they help soothe the grief. We dreamed and manifested something tangible; a testament and validation of the joy and authenticity once felt while collaborating creatively on a passion project. His spirit and energy are embedded in his writing and his voice will live on forever, rooted in black ink on thick white book stock. I can read those words and feel close to him still; love, pride, and surrender fill in where tears and grief once lived. As I grieve Davey, I also grieve those long-forgotten experiences and how different everything is now.
Davey allowed me to deep dive inside my soul. So many people reminisced about his contributions to the world of automotive journalism, but that was only the periphery of how deeply he touched my life. It was the open door but not the interior.
He died a happy man, doing what he loved to do, with a wonderful loving partner waiting for him at home. He left this world having achieved what he yearned for all those years ago.
As you crossed that rainbow bridge, I hope you found D. Boone and the other rock and roll angels you admired and were inspired by waiting for you. I hope you know how much you inspired those around you, and what an incredible impact your life had on those of us left behind.
Thank you for your passion and fearless approach to life. Thank you for giving me the courage to write with my voice. The Spark Plug shirt you designed for Gearhead says it all: Rock. Davey G. Johnson, you Rocked.
My heart is heavy as I continue to process the sad news that yet another friend has died. Beth Hood passed away this last week and the news has just devastated me. She was bright, fun, smart, and passionate. How could she be gone? She was a mama first and foremost, and an artist and musician secondly. She was also voted Ms. Gearhead 2016/17 and it is in this capacity that we got to know each other. I keep thinking I’m going to wake up and this sad news was all just a bad dream. Someone so alive and vibrant could not be gone; it just doesn’t seem real.
I created the Ms. Gearhead contest because I was sick of women being treated as eye candy in the hot rod world. I wanted to celebrate the qualities women brought to our community and Beth had those qualities in spades. Smart, outspoken and fiercely committed to giving back to her community, she embodied strength, courage, resiliency and fortitude. As a single mom raising two little boys, she taught them by example. Helping them to embrace their own passions, she explored art as well as sports with her kids. Her dream was to one day open an art school for children, hoping to help kids find their own creative voice as she had.
Sure, she was gorgeous. But it was that inner spark that shone bright through her eyes and laughter. She savored life and all it had to offer and lived it out loud, exuberant, passionate and creative in all she did. She became the Gearhead brand ambassador, wearing her Ms. Gearhead crown proudly to car shows and punk shows, posing for pictures and talking to customers but above all, being deeply true to her own person every single moment.
I am blessed and grateful to have known and worked with her these last few years and deeply saddened that this bright vivacious light is gone from this earth. You now grace the heavens with the brilliance of a shooting star Beth. You will be missed each and every day.
Read Beth’s interview here. Proceeds from the sale of the remaining posters will go to the Go Fund Me account set up for her boys.
Rock 'n' Roll/Automotive Journalist, Influencer, Editor and Publisher of Gearhead Magazine,