Drellas Live Review

The set opens with Radically Thinking Out Loud the line check that smashes through in a chaotic wall of noise. Heads blown off. Anybody not expecting this should leave now. And the surprising thing is people actually do. There are a few walk outs. Fuck 'em. People who came to see some incarnation of Space. The Drellas are developing a habit of shocking people out of their skins and venues.

Cash Converters strikes a chord with everyone who knows about the rotten ebay pawn culture. Story-telling qualities about the people who sell their wares, own mothers and their souls at the pawn shop and an awesome snyth hook from Masha.

Paedo Padre is like The Troggs on speed, The Sonics vocally and a Motorhead guitar riff packed full of The Drellas own wailing thrash, a real headfuck of a tune.

Apparently Antony's Brainwave is not a regular in The Drellas set and you can see why. This is the because it violates what the Drellas seem to stand for. The loud fast and aggressive element. The closest thing to the former songwriting life of Tommy Scott. This is, as he says almost ashamed, "the only one with anything close to a melody" The lighter in the air moment with its epic chorus.

Homophobic Pope is the complete opposite and acts the antidote for anyone getting carried away on the good times of Antony's Brainwave. 60 seconds long. Verse. Chorus. Verse. Chorus. Smash. Over.

Burn Down The School is The Drellas' circus song, childlike nursery rhyme melody taken from Oliver Twist's 'Food Glorious Food' but a complete call to anarchy. After all, who doesn't want to burn down their school?

Orchestra Of Tears is the first single from the band and the debut release from Antipop Records. Synthist, Masha takes lead vocals and belts out a scary tirade. Can you hear my Orchestra of Tears?

Dive In Bed maxis out the ultimate sleaze, the wiry guitar riff, the sirens call. relentless drums. The mating call of a punk band.

Violence Is Art is the two-tone climax to the set. The quick verses and the ultra fast choruses, give the stop start and the loud quiet to The Drellas sound.

And for all the Antipop jargon and political threats, this is the closet thing to pop music wrapped in a barbed wire and soaked in formaldehyde. You can listen to it but don't go near it. It's harsh abrasive, at times overpowering, always aggressive and defiant til the end. The spirit of punk rock is rolling to a new tune and a new beat.

Bristol Cooler 13/10/09 Tweet

Did Paramore steal the artwork from The Dead Class?

Paramore's album cover for RIOT (2008) is surprisingly similar to The Dead Class BOO cover (2006). What do you think?



Could Paramore have stopped off in Liverpool on their album tour, picked up a copy of BOO from a Dead Class show and nicked the idea for their album art?



It could just be a coincidence or... Tweet

The Drellas on Antipop

This is an interview extract with Masha and Phil from The Drellas talking about the emergence of Antipop with a few choice words from Tommy. The rest of the interview was lost.

Masha (M), Phil (P) and Tommy (T) from The Drellas take about new alternative record label Antipop. Interview conducted by Andy Johnson of Click Liverpool (Click).

(M) We're just not going to count on money from banks, it's a bit unrealistic. For companies that have been around for a while, they may have some capital. We have to push the record company sales and make some releases happen without any financial help, so the only way for us to do it is DIY. The only people we can rely on are young, they're not professionals, they're working without any new contacts.

You know how Woolworths collapsed, and 73,000 bands got dropped within months as a result of it by major record labels, because they were easy (to get rid of) and were not selling enough records for the record companies to keep them. But where are all these people going? They don't know where...

Phil (P) If you've got music in your blood you have to keep on going whatever...

(M) So basically I think if we keep on going with this right, and do some internet promotion and make some small releases happen, and try to get as much out of it, we will meet people in exactly the same position as us.

(P) That's pretty much how it happened anyway, we had the idea of doing Antipop, obviously with The Drellas and other things we had, but a lot of the other bands that we were playing with in Liverpool, the likes of The Dead Class, Fraktures, and all of them. We all became friends because we were all playing together. The guys from The Dead Class came to us one day cos' they were releasing their own record themselves; making their own albums and putting them out. Everyone came together, literally one day, we all converged here, and everyone said why don't we all just club together? Because we've got a movement already, with all the same people going to the same gigs and seeing the same bands, we know everybody, it's like a movement. Why don't we club together and do it all under the banner of Antipop, do you know what I mean?

(Click) It's a collective is it not?

(P) Ye, it's a collective, and obviously all the people from all the different bands come together and everyone's got different skills to offer, Metro are really good at PR, there are people who are good with booking agents and have got all that type of stuff and can get gigs/shows, I can make records. So between us all, we just pooled our experience and made a solid movement and it seems to be working.

(M) It's about 12 people working on it, we have everybody doing it in their spare time, for now. But we have hope that one day we will be a fully staffed record company with people working as heads of departments, whatever the structure is going to be, we don't know that yet.

(Click) That's how a lot of the success stories of the past have started isn't it?

(M) Ye, it's old school isn't it, there's nothing new there.

(P) Labels like Alternative Tentacles, SST, Rough Trade, Stiff, they all started with a group of like-minded people coming together going "we wanna do this" It's really totally out of the norm cos it's really all about...if you look at Metro Manila Aide or look at The Drellas, Dead Class, it's very far removed from what's going on. What would normally get the light of day in the press, they don't really care, cos they don't sound like the Ting Tings, or Snow Patrol, or your Razorlight or whatever's big at the time, so it's kind of difficult to get people to take notice of you. Do you know what I mean? Unless you sort of make them take notice. I think with the collective consciousness, with everyone moving in one direction, it's a lot easier to get people to make things happen.

(T) And to push things forward.

(P) Ye, push it forward, move things, we've got a lot of really good people around, a brilliant lad called Andy Cooper whose the graphic designer, he's a great kid, who did our tour posters, brilliant, he doing all the record work, he's doing everything and he's doing it for nothing, but one of the things we are doing, which no other record company in the world has ever done, well apart from one that I know from the 70's, is we're putting all the musicians on what's called points, putting percentages on everything. We're putting the graphic designer on a point , so he's not getting any money from us, but if it sells he'll get a little percentage. It may be a pittance, the same as what everybody else is getting, but it gives him an incentive to move forward and do great work.

(Click) One interesting question is whether artwork is still important for record labels?

(P) I really think it's vital. As kids we used to buy records, we didn't even know who they were, you'd see the cover and go "that's brilliant, I'm gonna buy it." Ok 50% of the time you would get home and it would be crap, but you would still like the cover!

(T) We're still very much hands on...

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Down in the House of Blues

03/09/09

When you're in the Deep South there seems only one thing worth doing and that is go see a heavy metal concert.

Down fronted by the almighty Phil Anselmo ripped the roof of the House of Blues turning Orlando's coolest venue into something resembling the Titty Twister from Dusk Til Dawn. The 2000 strong crowd descend onto Downtown Disney but almost didn't have a show to see as the Anselmo explains "the powers that be almost didn't let us play." When thanking Weedeater who opened the show. "They didn't like the name." He shrugs. It is a good job it's not Anal Cunt playing isn't it? chips in Kirk Windstein on guitar. "There's a few cartoons in the archives they wouldn't want shown."

Lowering the tone before Down exploded onto the stage were The Melvins featuring Godfather of Grunge Buzz Melvin and backed astoundingly by duel drummers Dale Crover and Coady WIllis. Start to finish the beats rolled relentlessly with barely a rest and without taking on a drop of water. This 45 minute set was a legendary performance of classic grunge still going strong and finding new channels to plow. Finishing on an A Cappella rendition of "Okie from Muskogee" and signing off with "Thank you, we have been the Jonas Brothers," it was both fitting and strange. The Melvins defining a sound that will never die and spawned a million bands and a Seattle scene that took over the world.




Down hail from New Orleans are less than complimentary with their track "New Orleans Is A Dying Whore." The grit swilling, throat puking guttural clench of Phil Anslemo's voice is the driving force that whips the crowd up and the greatest frontman performance I have ever witnessed. Somehow singularly connecting with every single person in the venue. Anslemo takes the time during the lengthy trip fueled leads of Down to point to and thank seemingly each crowd member individually. This is the heavy metal equivalent to to a Hannah Montana meet n greet. But who the fuck is Hannah Montana? We want to rock the fuck out! And Down sure know how to it in style. "We only have one night together so let's make the most of it." The line that would take any girl to bed with the Down singer. The crowd scream for "Stone The Crow" during the encore but it is the full throttle stoner riffs that make Down the ultimate live act they are.



Quote of the night "We've stopped drinking whiskey." Cue Boos. "...and started taking more acid." Cue cheers. - Buzz Melvin.

Dedication of the night. "This one's for Dimebag Darrell." - Phil Anslemo.

Photos from www.jencray.com Tweet

New Video: KOF - Famous

FAMOUS - KOF (OFFICIAL VIDEO) (Single Out 28.09.09 EVERYWHERE!!) from KOF on Vimeo.

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Metro Manila Aide: Second Album Plans

Second albums are notoriously tricky, typically rushed out by the record label to satisfy the demand for more product. When the first record is forty tracks and over two hours long it can be an even greater pressure. Well, it's not a problem for this band!

Metro Manila Aide have revealed the new album, the follow up to world record breaking debut album The Devils Handbook will be recorded underwater.

The new album is understood to be a prequel to the debut album The Devils Handbook, starting a century before The Devils Handbook picks up.

The band revealed they are sampling the sounds of Dolphins and recording is apparently taking place in the setting of the underwater oil rig from James Cameron's 1989 movie The Abyss.

The band are clearly optimistic about the outrageous plans. Paul McBride said, "We have to go one better than the last album!"

Fans are being asked for ideas to come up with a title for the new sub aquatic record and can leave their suggestions on social networking sites Facebook and Myspace.

Pic: Metro Manila Aide embark on new adventure

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The Temps come for tea

We caught up with Antipop Records latest signings The Temps Luke (bass), Thom (guitar), Billy (drums), Joey (vocals) to see what's in their equipment locker, who are their idols and what they're having for tea.


What are you having for tea?
Luke - Pizza and chips
Thom - Pasta and Pesto with vegetarian chicken.
Billy - McDonalds mainly because I Work There Like...
Joey - I hope to god that its Fish & Chips


What the best gig you've done so far? ...
Luke - Carling Academy - October 2008
Thom - Headlining Barfly in January 09
Billy - Errr.... Possibly The HUB Festival because the stage was huge and there was a lot of excitement surrounding that whole day, and it was just a cool gig.



Who inspires you the most?
Luke - Arctic Monkeys and Miles Kane from The Rascals
Thom - Either guitarists like Jonny Greenwood (Radiohead) and Tom Morrello (Rage Against The Machine) or guitarists like Nick Drake and electronic artists like Squarepusher and Aphex Twin.
Billy - A Couple Of Drummers.. Sam Fogarino Being One (Interpol Drummer) and Keith Moon - amazing drummer. Also not forgetting my family!
Joey - Alot of people inspire me, mainly the artistic side of Pete Doherty, in my opinion his songwriting skills are second to none. However i also love to watch frontmen like Yannis from Foals and Faris Rotter from The Horrors.


What are your favourite records?
Luke - Alexisonfire - Watch out, Arctic Monkeys - Brianstorm EP, The Rascals - Rascalize
Thom - Birdhouse In Your Soul - They Might Be Giants, Cigarettes and Chocolate Milk - Rufus Wainwright, Revolver - Rage Against The Machine
Billy - Nirvana Unplugged, Red Hot Chili Peppers - By The Way, The Jam - All Mod Cons, 24 Hour Party People
Joey - The Libertines - Up The Bracket, Joy Division - Unknown Pleasures, The Horrors - Strange House, xx Teens - Welcome To Goon Island



If you could get tickets to see one band which would it be?
Luke - Arctic Monkeys
Thom - The Specials
Billy - The Who
Joey - Joy Division



What equipment do you use?
Luke - Squire Precision bass & Marshall 150w bass amp.
Thom - Fender Telecaster
Peavey Dual 12 Classic Tube Series Amp
Planet Waves Lead
Fender PT-10 Tuner
Boss CS-3 Compressor
Electro Harmonix Big Muff
Dunlop Cry Baby Wah Wah
ProCo RAT
Boss CH1 Super Chorus
Boss PH-1r Phaser
Homemade "Thomolo" Tremolo Pedal
Electro Harmonix #1 Echo
Marshall EH-1 Echohead
Billy - some Shitty Ass No Name drum kit at the moment, but I am saving up for a Gretsch Catilina Club Mod Drum Kit and ZXT Cymbals.
Joey - just a Shure SM58 to be honest! Epic list that...



Why is Antipop right for you?
Luke - Antipop is right for me because it is an extremely dedicated label that is going to help our band fulfill our dreams.
Thom - Because they have an awesome taste in music and know what they're doing when it comes to picking bands. They are also extremely dedicated to doing their best for every band on the label
Billy - Because I believe that Antipop have clear goals and objectives and clear ideas about what they want to achieve with the band. The whole togetherness of the label is something I am really interested in.
Joey - Antipop is right for me, because since we formed the band, as would any band, we longed to get signed, but this label is everything I wanted from a label, the people are all extremely dedicated to what they do and truly only want the best for our band, aswell as every other band on the label.


Liverpool's newest sound is already reverberating across the radio and internet waves. There are quite a few live shows also. Check them out The Temps on myspace. Tweet

Coma Coma Drama

Coma Coma Drama are Sean Hollywood and Paul Baker both 22 from Woolton, Liverpool. Rehearsing at Crosstown Studios they describe their sound as a cross between Crystal Castles and NIN. 'Electro music is in vogue now but we're still niche.' explains Paul. 'This is our second show at Korova. They asked us back' Sean smiles. 'We just want to do as many shows as possible now.'

An array of equipment develops their brand of circuit-bending.

Reason, Logic, Kaos Pad, iPods as sample triggers, a fender telecaster with fuzz factory, a CME MIDI controller and a circuit bent Casio M80 make up the gear.

'We like the random stuff that happens. When there's a nursery rhyme or a taxi radio in the middle of a song.'

It's a big abrasive sound for fans of the above mentioned influences and also Aphex Twin, Venetian Snares.

Website


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TIED UP - Big Tits - best song ever?

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KOF done Glastonbury

KOF, the Diamond in the Dirt, was in his element knee deep in Glastonbury mud, if at the expense of his previously spotless Nikes. He admits it was "one of the best gigs I've ever played. So many different types of people all coming together, having a great time!"

Pictured here with Annie Mac, who kept the shirt!. Better get a big shout out for that one!

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Jackpot Golden Boys are back

Just a quick post to say the tropically weird and untypically wonderful Jackpot Golden Boys are back with a new record. I didn't quite see when it was out but I've listened to the sampler medley on their myspace page and I cannot wait for the album.

Some of these songs I have heard live before so its cool they're gonna be on the album. Have a listen: Click HERE Tweet

Currently listening to...

Hopefully by now you are trusting my tastes and enjoying new music from the North West of England. Liverpool and Widnes and Wigan.

The Anodes - brand new Widnes band a couple of gigs under their belt. listen here

The Temps - awesome Liverpool punk band on myspace

The Hicks with a new video for TV Rules the world - Watch here

If you like different music download this Eighth Day Army remix of Chime Column by Metro Manila Aide - Chime Column - EDA Re-Mix.mp3

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Fear & Loathing in Gonzovision 3 of 3 Uploaded by Top-Notch112

Fear & Loathing in Gonzovision 2 of 3 Uploaded by Top-Notch112

Fear & Loathing in Gonzovision 1 of 3 Uploaded by Top-Notch112

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MMA Album launch party by Mark Cooper

The gathered collection of dead rock stars massing outside the Zanzibar is the first indication that something strange is going on. Metro Manila Aide have compiled some of the best new bands on the Liverpool scene. Seven bands, one theme, one occasion: the launch of the longest debut album in history.

Brassneck cut the ribbon on proceedings with the impact of a sledgehammer. Dressed as Cliff Burton, Dimebag Darrell, Frank Zappa, Sid Vicious and Bob Marley and there’s a real sense of enjoyment on and off stage as the band ham up their respective roles. By the second song they have shed most of their attire through the sheer movement and frantic energy of the performance.

Vocalist Vic is the metal scene’s newest hero, Max Cavelira deliver and Henry Rollins sentiment. He is aggressive and the subject matter is elevated. Stand out track Children of the Mud is a political attack on justice and morality.

Momentum continues to move as Father Christmas takes to the stage and provides thrash metal fans an early present in the form of The Institution.

As efficient and clinical as an obsessive compulsive surgeon, The Institution cut through to their peers with a sound so complete it is almost impossible to find technical fault. This can sometimes be the problem though as the material can appear desensitised and cold, but it’s through the considerable efforts of vocalist Joe Maryanji aka St Nick that keeps this from happening. Effectively knee-capped in 2008, you would be forgiven to think he was still on medication such is the wry smile placed across his face throughout the set. Insane with bloodlust, waving the flag for thrash metal high and clear.

With such high quality on offer here, to stand out was always going to be difficult, were do you go when you have pushed the envelope so far? The reply this evening is provided with Eighth Day Army.

The answer is ‘No’ and the question is, ‘Is there a bigger pedal board than John Lawton's?’ Normally equipment of this magnitude leads to mindless meanderings of electric nonsense, but then normality is something that Eighth Day Army have long since disregarded.

There is an aching simplicity to EDA’s sound and this is used to fire off moments of inventiveness and intricacy. Their solid grooves, hip straddling metal, rock and jazz/blues fusion are a step in another direction, one which is unwritten, improvised and thought-provoking. Quality songs with angular melodies.

Hollow Point court the title ‘Most likely to Succeed’ and it seems as though they are awaiting this inevitably, but sometimes you have to force your way to the next level, tonight’s performance needs to be amazing.

HP has often had difficulty balancing talent versus the song; it’s a nice problem to have but one that can resign your band to oblivion if not controlled.

Easily getting the crowd onside from the opening HP are closest to the complete package, even alongside MMA-they are a safe pair of hands in an unstable metal world, and clearly the crowd lap up ‘Printed wisdom’.

Wearing their heart on their sweatbands, it’s clear the Metallica, Megadeth and Pantera sound will live on long after they are gone with HP around, the first chants by the crowd start and we now move into the section of the night were the place is full and people and bands have no excuses.

Hollow Point are still easily running with the pack, and now it’s down to them to rise above, songs like ‘Ludicrous Speed’ could be played in heavy rotation until the end of time, but now their baying fans are ready for more.

Having already played tonight with SSS, you would be of the belief that lead singer Foxy would be a spent force; it would be a mistaken belief however as he attacks The Bendal Interlude’s material with vigour and power and achieve the right amount of force to keep the gathering crowd onside and knock over some fence-sitters.

The now booming crowd, particularly the section to stage right, who have clearly come to see them, are loving this metal swing rolling back and forth from Sabbath and Orange Goblin to Down and Corrosion of Conformity. Bendal weigh in heavy-enough-to-crush-your-skull-and-just-insane-enough-to-enjoy-it which is made apparent when Foxy leaps into the group without fear for his own safety.

Bendal’s set has all the hallmarks of a band doing this for their friends, in the form of Metro, the fans from the already converted, to the recently won over and the respect and admiration for heavy music, in straight up muscle.

Just dripping in Kyuss and space rock, stoner blues Bow And Arrow take the energy a different direction, it’s relaxed but still strong as guitarist Craig weaves chord phrasing with lead lines - the maxim here is groove.

If Mark E smith sung in a metal band Adam would be the result, at times almost lost, looking redundant but then barking into life with a choice phrase or interjection cutting right though completely surprising anyone who isn’t paying strict attention.

It’s a jam mentality that works really effectively, and proves an accomplished take on psychedelic metal, one of which honestly needs to be appreciated repeatedly to fully enjoy and serves as a perfect precursor to what is to take place.

Describing Metro Manila Aide in any conventional sense is an utterly useless endeavour. Trying to explain the MMA to another person is similarly a fruitless pastime. The reason being that MMA are a live experience, a snapshot event where colossal elements converge in harmony of discord.

Those elements started long ago (seven years now) in semi-normal births which echo none more than in the playing of Danny Rogers' psychedelic backwards guitar. Sounds swirl around in the background and then are quickly discarded as MMA strive for something else more direct.

The audience have preconceived notions of what Metro are - it’s these notions that the band put into an envelope and then post them to different galaxy.

After announcing themselves McBride removes his outer layers, revealing skin-tight white pants, then the shirt, revealing a white vest and then, throwing his hair to the sky...reveals a complete Freddy Mercury.

A flair for stage show runs inherently through Metro's set, constantly moving and engaging, Paul points into the crowd, sometimes to absolutely no-one, laughing menacingly at his own rhetoric and then delivering wisdom which could have fallen from the Dalai himself.

The closest thing to hold on to as you throw yourself into the arms of Metro is some kind of street religious zealots, only with the ability to change your life with inward thought and an outside views.

‘Queen Bee’ is found tonight, safe and warm nestling within the set and pushes to its natural conclusion as the audience sing the lyrics back, it’s possibly the closest thing to a metal hymn.

At times atop his pulpit, then amongst the crowd Paul weaves the cult of personality with Rogers, Jefferies and Keegan proving the perfect support, best shown when he counts in on a monstrously heavy beat, before stopping instantly, silence, then the line ‘When it comes to the crunch, could you fit your head into a keyhole?’

Tonight’s launch is a glorious vindication for people who say there is no scene within Liverpool, that say there is no new music, that no-one is doing anything of value; but more importantly it shows that live music as an entity will always be something that resonates with people, ask the people that bought ‘The Devil’s Handbook’, those that were blown away by The Institution and Hollow Point's mass metal and Brass Neck’s downright quality. In fact, don’t ask them, see these acts yourself and let someone else wonder what’s going in Liverpool.

Mark Cooper

3^rd May, Zanzibar, Liverpool

Images by Adam Lee - adamleephotography@yahoo.co.uk

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Antipop Records Launch Night @ Monochrome

Liverpool SoundCity 2009

When a band of the quality of Metro Manila Aide open a gig there is either something seriously wrong or this is going to be one helluva line-up. Fortunately for Antipop the latter is true in this case. Rumour has it the line-up and stage times were picked out of a hat before soundcheck - one of the ingenious ideas Antipop Records have come with to stop people arriving at a set time and leaving when their favourite band has finished. The only time this gig was given was the door time. Be there at 7:30pm was the only instruction. It also helps to keep all the bands on an equal platform the aim being to avoid headliner and support bands. Metro Manila Aide rattle through a full on assault of a set that only breaks for air when the play world record debut album The Devils Handbook opener The Crunch. The crowd go wild in the mosh-pits and the whole set almost tops the giant bean bag fight that occurred prior to the gig.

Fraktures are next on and their unique sound wails around the room like a fiery dragon of classic punk generation brought up on TV static. The tireless and forceful drumming of Cheeky Mike lays the foundation of this greased up hair ball of a band the Seventies spat out. Anachronistic anarchists Fraktures define a slick sound that we haven’t heard for yonks. Got to love it. Ryan Clarke possesses more style than Viviane Westwood could handle.

When the going gets weird the weird turn pro. Famous last words from King of Freaks Hunter S. Thompson. The Dead Class regalia picks up where the good Doctor left off barging through tracks such as Mrs. Donkey, The Hitman, A Pulse And A Heartache and The Age Of Paranoia. The sense of hysteria reaches boiling point and things bubble over during Hanging Basket when ‘the thing’ on stage strips down to a G-string and starts jigging like North Korea just hit the red button. You had to be there but the pictures don’t lie.

And as The Drellas mount the podium to close the evening the venue is no less full than at the very start of the night. With such competition on the opening night of Liverpool SoundCity this gig is one of the success stories. Quality rounded off in a rampant outing from Liverpool’s own The Drellas. The diminutive Tommy Scott flanked by the forces of Masha Padzeirei and Phil Hartley on keys and bass respectively are backed by new drummer Allan Jones in his first live outing. The Drellas show how it’s done. Masha is in the crowd, Phil’s trademark scowls and Tommy’s unique sound that has been part of the music conscious for almost twenty years gel like araldite. The Drellas were never going to garner the mainstream accolade of Space, but that seems to be exactly the point. Shocking many but satisfying even more. Welcome to the sound of Antipop.

www.metromanilaaide.co.uk

www.myspace.com/frakturestheband

www.deadclass.com

www.myspace.com/thedrellas

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Multi Purpose Chemical: The Last Goodbye?

For many ardent metal fans 2009's HUB festival will be remembered as the grand farewell to one of it's finest performers. News at Easter that the city's 'bounciest thrash band' were to disband put all the more emphasis on their final appearance at this weekend's outdoor extravaganza.
Andres Lefevre is one of music's most energetic and likeable frontmen. We caught up with Multi Purpose Chemical's ever-jovial, much loved and soon-to-be missed vocalist.

Is this the end of the road for Multi Purpose Chemical? Why?

There’ll never be ending to something that has had so much meaning to us and hopefully to the people that have enjoyed our shows. We’re just going to Mars for a bit.

Although it may be too early has there been any thought into whether the other members intend to continue? What does the future hold for MPC?
No plans at the moment but we’re always open to suggestions. I’d love a crazy party type front man, an alcoholic, cocaine driven lead singer that has no qualms about getting what he wants at all costs. Now that George Bush is free we think he’d be a perfect for MPC.

How big an occasion will May 24th now be?

Oh it’s going to be Big. It will be probably the first and last time that Liverpool can have breakfast with MPC. We’re playing at 11:30am so it’s going to be a tough gig to make, for us that is. We’ll probably have to pull an all nighter.

When and how did MPC start out?

After touring Italy for 6 months teaching tiny Italian youths English through theatre we decided to head to Liverpool because it was a cheap and a sea of college girls to choose from. Our first gig was at the Masque, September 27th 2002 (or there about). Rob and I had a green, plastic saxophone, an electric guitar, a hand drum and two boxes of wine. We dedicated a song we wrote on the spot called ‘Bitch’ to 50ma, the band that followed us, which happened to have Jim our future bass player and Ross our future drummer. We joined forces and continued to drink boxes of wine and many purposeful chemicals until we decided we should take this unserious thing more seriously.

How long have you been together?

MPC 1.0 with Jim and me, Rob and Ross started in early 2003. Then MPC 2.0 with Rob, Jim, Mel and I started in the summer of 2007, until Rob went crazy and left to do soft porn in London. MPC Ultimate Edition started April 2008 and consists of Jim, Ad, Mel and I. It’s been an awesome run.

Are there any regrets? If you could do anything differently what would you do?

If we could do anything differently I think we should have toured more. I really think we should have made the leap to more countries in Europe and across the pond to the States. Also we probably shouldn’t have eaten as much KFC or caused the credit crisis.

You have had some members over the years. How are those relationships now? With Rob, Ross in particular…

Believe it or not our relationships with Rob and Ross are nonexistent. We get updates every once in a while from Rob’s dad, Dave but other than that nix nix.

Looking back, what have been the highlights of Multi Purpose Chemical? What has been your proudest moment?

Playing the London Astoria at our own Mean Fiddler gig was a wicked highlight. Going on tour with the Skindred and Dub Trio guys was definitely up there as a top, top memory. It’s all been great though, every gig has an interesting story and a highlight, sometimes it’s just the food we eat or the people we meet.

What do you think you have achieved as a band?

I think we’ve accomplished shit loads considering we started as a drunken raunchy side show and have progressed into a musically mature, entertaining, drunken, raunchy main act.

Do you plan to continue?

Entertaining? Most definitely, we shall continue until we can go no longer. I’m sure we’ll all stay in the game in some form or other. In what form will it manifest only the stars know.

Is there anything you want to say to the fans that cannot wait until May 24th?

Get to the Hub. There will not be any more MPC action for a long, long while. Oh and bring your own fry up because it’s an early one!




Multi Purpose Chemical, Live @ HUB Festival, Wellington Dock, Liverpool, 11:30am, Sunday 24th May 2009.

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