Reviews

Russell Miller

Russell Miller

Russell Miller is the front-of-house/monitor engineer for Red Gate Sound & contributes reviews and an occasional snarky op-ed here at UNDERGROUND PRESS. If the music has a strong melody, a drive, or ambition chances are that it’ll have my attention. Knowledge. Follow Russell on Twitter and InstagramCheck out his tunes at SoundCloud

 RED GATE SOUND: Our Facebook | Writer/Contributor: Underground Press | Engineer/Producer: Arkayem Productions

Monday, 15 October 2018 08:36

Review: Medicine Boy - 'Lower'

Music as an art form is removed from the limitations of perceived reality with regard to the aural experience of what is beyond the “real world”. In the case of MEDICINE BOY’S latest offering, 'Lower', the dream noise duo acknowledges this with a collection of songs that explore and reflect what is beyond and beneath what we believe to be our known universe. This album marks the duo’s Fuzz Club Records debut (though the second release overall) and seeks to stay true to their patented sound bouncing between a dreamlike distortion and a bed of spacious reverb and echoes dancing about.

Listen to 'Lower' While you read on!

‘Lower’ does not rush at you with a big opening number, nor does MEDICINE BOY seek to overwhelm you with a barrage of high octane appetizers. Instead, opener “Bottom of the Blue” seduces with LUCY KRUGER guiding our initial descent into MEDICINE BOY’S depiction of the underworld. With a third of the song left ANDRE LEO’S menacing crooning seeps in just underneath the surface effectively setting the stage for the drift into the co-lead single “Water Girl”. There is a push-pull feel that is woven into the passage of one song to the next that feels purposely aimless yet feeds the fluidity of the listening experience.

Across the album both Kruger and Leo trade responsibilities as the vocal anchor for whatever amount of Bedlam or tranquillity transpiring beneath their respective dynamic performances. What stands out with MEDICINE BOY, and the album as a whole is the duo’s ability to convey what they need to convey as one cohesive unit as opposed to two vocalists singing together. Both Kruger and Leo possess ample ability to carry passages of songs on their own, but it is when the two come together where the magic is strikingly apparent. One prime example of this is “Diamonds” a song that also features an abrupt change of pace that feels disturbingly normal.

It should be noted for the record that the artistry on this record is remarkable. Whether it is the elegance of poetry in “Lovely Heart” or the abrupt intimacy of the last line in “One Hundred Bodies”, it is evident that from top to bottom this album is a testament to MEDICINE BOY’S artistry and musicality. The Fuzz Club Records roster boasts a robust collection of artists that dabble in the experimental side of rock music. MEDICINE BOY could well prove to be a flagship stable with their arrival to the UK-based label as ‘Lower’ is an experience to behold.

medicine boy lower cover

Endless Daze 2018 has just announced their final line up and MEDICINE BOY is one of their featured acts. Check out the mastery of ‘Lower’ live!


Two years removed from his last effort 'Collaborator', RIAAN NIEUWENHUIS offers 'REMINISCENCE', a collection of previously unreleased material. NIEUWENHUIS is a veteran of South Africa’s music scene and is a veteran of the music community who possesses a girth of talent with a seemingly limitless capacity for composing music. DELTA BLUE, THE VIOLENT FREE PEACE, AMAFIST, are just a few of the many projects that this virtuoso has been connected to. That said it stands to reason that NIEUWENHUIS would be in possession of some pieces that have escaped the opportunity to be heard by the public…until today.

reminiscence album cover FINAL

'Reminiscence' is effectively a musical experience that is comprised of three acts and an epilogue. Each section when taken in together provides a summation of the musical diversity NIEUWENHUIS exemplifies and has become synonymous with.

Act I opens the album with a lo-fi aesthetic that incorporates a trip-hop vibe with each of the first three tracks contributing a unique flavour. ‘Silk’ is the first track on the list that is energetically ambient and bounces with an infectiously crisp “boom-bap” rhythm that dressed to the nines in a slick urban couture. ‘Cruising’ follows with a darker tone that moves into the first act’s closure in ‘The Point’.

Act II sheds much of the trip-hop aesthetic but maintains the ambience, space and musicality. ‘Summertime Afternoon’ and ’22-6’ present two stark contrasts in sound with the former a lush desert rock downtempo number and the latter bearing a more abstract veneer. ‘First Out’ closes the middle act in exotic fashion with a delectable Eastern influenced acoustic flourish that flows into a rock trot with ease.

Act III maintains the ambience but adds an edge that is unforgiving but musically edifying. The act opening of ‘Paracaida’ is menacingly beautiful, brooding, but open and spacious. Lead single ‘The Black One’ adds an angst that spices the album up and fits perfectly before the act closing ‘Indurate’ which could have easily been a cut from 'Collaborator'.

Closing the album is a bluesy solo piano number by the name of ‘Namib Blues 2’ a direct nod to an earlier piece that would be familiar to fans and followers of RIAAN NIEUWENHUIS.

NIEUWHENHUIS has an artistic vision that’s woven into the very fabric of his works and influences every facet of this record in particular. Obviously these songs would have placed themselves amongst prior releases from NIEUWHENHUIS but one of the defining and endearing aspects of compiling them here is the experience of placing these tracks within the timeline of prior releases. 'Reminiscence' is a testament to a mind rapt with appreciation and love for the art of music and will be an immediate classic and favourite for those who share this conviction and even for those who don’t.

Please join the Facebook Event where we'll be announcing the album launch today!


 

Basson Laubscher The Violent Free Peace Testify

The blues-rock revival is in full effect with 'Testify', the latest effort from BASSON LAUBSCHER & THE VIOLENT FREE PEACE. Typically, modern music increasingly relies on the formulaic and repeatable approach. It is not uncommon to hear a track littered with synthetic sounds that are meant to mimic their real world counterparts. With LAUBSCHER and company the MIDI-triggered sampled drum kit, the in-the-box guitar tone, etc. are all M.I.A with this collection of tunes. In their place are tones that have travelled from the fingertips (and throat) of four experienced musicians, through a recording console to preserve and right into your ears for as true an organic listen as possible.

Title track ‘Testify’ opens up with a plunging musical baptism with its chorus of horns, guitars, and sermonic delivery of LAUBSCHER’s vocal performance. As fierce and as bombastic the opener is the following ‘Lost’ purifies the ear with a peaceful acoustic offering. The relationship between these two tracks is emblematic of the tonal balance of Testify. Whether the objective is to overwhelm with the sheer might LAUBSCHER and company are capable of or draw in close with intimacy the album maintains its equilibrium. That is to say, no matter the peak or valley the album feels even from track to track.

Watch 'Testify' in the media box Below!

That said 'Testify' is a testament –pun intended- to the organic rock music production. Due to the authenticity of the albums recording, the listener is in the room, on the other side of the campfire, front-row in the arena, whatever the setting, the listening experience just puts you…there. Each track wraps itself around the listener in an embrace of lush tones. From the fluffy but rugged overdriven rhythm guitars, smooth chorale organ and pads, to the simplicity of the knock of the kick drum against its room ambience; Testify is a beautiful listening experience. ‘Make It Right’ proves as much when moving from its riffy passages to an open atmospheric instrumental break.

basson loubscher

All said, this is an album that doesn’t get lost in itself. The strength and lasting quality of this record is that Testify does not seek to blow you away with all that a modern record could blow you away with. LAUBSCHER & THE VIOLENT FREE PEACE paid unique attention to preserving the authenticity of the blues rock performance. The lack of over the top embellishments is the feature in a world that treats it as a bug and that is what Testify leans on in a macro sense. The resulting experience is what LAUBSCHER and company intended it to be; a bombastic listen that stays true to its nature with a few twists and turns to keep your attention. For fans of the golden age of classic rock, blues and the like, there is more than enough meat on bone here.

Get the album on iTunes today!

The blues-rock revival is in full effect with Testify, the latest effort from BASSON LAUBSCHER & THE VIOLENT FREE PEACE. Typically, modern music increasingly relies on the formulaic and repeatable approach. It is not uncommon to hear a track littered with synthetic sounds that are meant to mimic their real world counterparts. With LAUBSCHER and company the MIDI-triggered sampled drum kit, the in-the-box guitar tone, etc. are all M.I.A with this collection of tunes. In their place are tones that have travelled from the fingertips (and throat) of four experienced musicians, through a recording console to preserve and right into your ears for as true an organic listen as possible.

Title track ‘Testify’ opens up with a plunging musical baptism with its chorus of horns, guitars, and sermonic delivery of LAUBSCHER’s vocal performance. As fierce and as bombastic the opener is the following ‘Lost’ purifies the ear with a peaceful acoustic offering. The relationship between these two tracks is emblematic of the tonal balance of Testify. Whether the objective is to overwhelm with the sheer might LAUBSCHER and company are capable of or draw in close with intimacy the album maintains its equilibrium. That is to say, no matter the peak or valley the album feels even from track to track.

That said Testify is a testament –pun intended- to the organic rock music production. Due to the authenticity of the albums recording, the listener is in the room, on the other side of the campfire, front-row in the arena, whatever the setting, the listening experience just puts you…there. Each track wraps itself around the listener in an embrace of lush tones. From the fluffy but rugged overdriven rhythm guitars, smooth chorale organ and pads, to the simplicity of the knock of the kick drum against its room ambience; Testify is a beautiful listening experience. ‘Make It Right’ proves as much when moving from its riffy passages to an open atmospheric instrumental break.

All said, this is an album that doesn’t get lost in itself. The strength and lasting quality of this record is that Testify does not seek to blow you away with all that a modern record could blow you away with. LAUBSCHER & THE VIOLENT FREE PEACE paid unique attention to preserving the authenticity of the blues rock performance. The lack of over the top embellishments is the feature in a world that treats it as a bug and that is what Testify leans on in a macro sense. The resulting experience is what LAUBSCHER and company intended it to be; a bombastic listen that stays true to its nature with a few twists and turns to keep your attention. For fans of the golden age of classic rock, blues and the like, there is more than enough meat on bone here.

Friday, 02 February 2018 13:46

Surya – 'Adolessence'

Adolescence CoverIt is no secret that the international footprint of hip hop has grown steadily and mightily since its inception in South Bronx, New York project buildings. Today the genre is flourishing everywhere and there is no better example of its influence than on Adolessence, the debut album from West Londoner SURYA VARATHARAJAN. At first glance, the mention of hip hop probably provokes sentiments not unlike ones stated by wary suburban American parents in the late 80s, and the entirety of the 90s. For the most part, ‘Adolessence’ sets itself apart from what can be found frequently topping hip hop charts. SURYA cites hip hop luminaries such as A TRIBE CALLED QUEST as sculptors of his musical taste, and KENDRICK LAMAR for the lyrical substance and social narrative baked into much of ‘Adolessence’.

Modern, crisp, and energetic describes of the production up and down the track-list. Bracket by a few short skits sprinkled about the album are tracks that feature synth stabs, atmospheric pads and punchy drums dedicated to providing a necessary club-primed musical underbelly. SURYA’s grasp of some of the staples of modern hip hop instrumentation are not flawless, but he delivers enough of the genre’s modern trappings to fill-out the production.

SURYA’s vocal across a vast majority of ‘Adolessence’ is a breathy delivery expected of a raw talent but melodic enough to carry the day on most of the tracks. The standout track ‘Move It’ is by far the strongest display of what SURYA can do with a microphone in front of him as well as a highlight of the album as a whole. The vocals in the hook trace a loop that introduces listeners at song-open. The delivery is simply and provides the perfect earworm especially through the bridge.

surya adolescence1

The album’s driving narrative is admirable in its frankness but runs up against being too on-the-nose in places especially when it changes the point of view of the narrative from inner-dialogue to…well…anything else. ‘Seek Your Truth’ is a series grand refrains that do not benefit from the fall to –and recovery from- their corresponding verses which come off more monotonous than refrained; more akin to a lecture than a conversation. That said, these types of issues aren’t as glaring throughout the album, but are enough to disengage casual hip hop heads that stray from “bumping to the beat”.

surya adolescence2

Honestly speaking, neither the message nor the messenger holds back the potential of ‘Adolessence’. SURYA depicts social issues in a way few can, and even less entertain the thought of attempting. There is a quality to each song’s lyrics that shows how close to home some of these topics are to him and insulate his ability to communicate that in his own unique was. The worldwide MeToo Movement may very well ally within ‘Adolessence’ and the lessons it attempts to teach but beyond a social-justice niche there might not be enough meat in the pot to keep a broader audience coming back for second helpings.

You can find Surya's album, 'Adolessence', on Spotify here!


 

Friday, 15 December 2017 08:04

Hidden Gems

Even though 2017 has lasted less than half a New York minute, in that infinitesimally short amount of time new music has been cropping up left and right. Of course, there have been newcomers to the game, but our beloved older artists -cough EVANESCENCE cough- have resurrected to help steal the spotlight from lesser known but strong underground acts. Fret not ladies and gentlemen, UNDERGROUND PRESS has remained vigilant and scoured the “interwebs” for fresh under-the-radar tracks. That’s right below this rather long-winded soliloquy is a collection of tracks that deserve your attention, love, and affection so gird thy loins –err ears!

Forgotten Sons Leave The Light OnUp first are the hard-hitting Scots, THE FORGOTTEN SONS with ‘Leave the Light On’. These lads bill themselves as an alternative rock group that “are in a constant battle between heavy guitar riffs and catchy pop melodies.” The track opens with a gently sung emo-esuqe lyric chock full of feels…and then heavy ensues. Don’t let the intro fool you, the song gets up and goes with some hard rock edge reminiscent of bands like SICK PUPPIES and is a ball of energy right up until the end. ‘Leave the Light On’ is currently a single listen below:

Lucy Kruger Summers Not That SimpleWas that a little too heavy for you? Be not dismayed, LUCY KRUGER & THE LOST BOYS calm you with docile tones of ‘Grace’, one of several singles off of their album ‘Summer’s Not That Simple’. This track is as soothing as a warm bath on a cold winter’s night as is much of the album from which it hails. Kruger, a product of Johannesburg, has a voice that is quite possibly the most captivating sound you’ll ever need to hear. The boy’s back her up with some deliciously dark tones as well. Check out the video for ‘Grace’ below: 

Conversing With Oceans TrilogyLet’s take things state-side with ‘Action’ from CONVERSING WITH OCEANS a solo project of Alex Bondare. With its enveloping sense of atmosphere, ‘Action’ is a song that soars sonically. Producer and Engineer Tim O'Sullivan teamed up with Bronx, New York native Bondarev to paint an aural picture that really can blow you away. This track is the lead single off of the upcoming EP ‘Trilogy’ and can be heard below:

Weekend Recovery WDYLMIf huge soundscapes and bombastic productions are not your thing, WEEKEND RECOVERY is here to bring things back to basics with ‘Why Don’t You Love Me?’ This female-fronted four-piece is serving up a healthy dose of raw and in-your-face punk rock that has been generating quite the buzz in the UK. They might not have been around long, but if there is going to be a punk rock revival, don’t be surprised to see WEEKEND RECOVERY out front leading the way. Check out the brand new track below:

Hexis XIIMaybe the tracks above didn’t hit the spot and you’re looking for something even darker and more extreme. You’re in luck because while you might have an affinity for darkness HEXIS was born in it. Since there is no clear single you should just mosey on over to their bandcamp and listen through their latest album ‘XII’. ‘Nefarius’ is a standout track, but the entire EP oozing with enough dark aesthetic to blot out the sun. No track exceeds the 5-minute mark but with how dense each song is you’re sure to be fulfilled. As always stick with UNDERGROUND PRESS for new artists and new music from all genres and every corner of the earth, but especially South Africa’s immensely deep music scene!

Tuesday, 28 November 2017 09:54

Aidan Martin – 'Refugee'

refugee album artFrom JIMI HENDRIX’s ‘All Along the Watchtower’ to NIRVANA’s ‘Smells like Teen Spirit’ the authenticity of life’s doldrums inspired staples of rock greatness. With his latest effort, ‘Refugee’, AIDAN MARTIN adds his own flavour to a well-tested avenue of creativity. At play in this album is a dedication to the earthy tones of classic blues rock and eagerness to tell a story that hits close to home.

Each song has a declarative statement or a question that drive’s the album forward. Album opener and title track ‘Refugee’ begs the question “Where do we go now?”; ‘Waning Hypnotized Illusions’ despondently asks, “What now?”; ‘Get Together’ demands what its title suggests and from there the album seems to get into gear. From there the theme remains consistent through to the end with little deviation.

As story-driven as ‘Refugee’ is, there is an obvious reliance on MARTIN’s vocal performance. The vocals are clean, powerful, drenched with emotion where needed, and hardly ever fails to sell a line. Whether they’re laced with urgency and conviction as evidenced in ‘Leaders Mislead Us’ or they’re dripping with the resignation of ‘Tie the Noose’, it is clear that album lives through MARTIN’s emotive vocal performance.

Listen to 'Refugee' below!

The album’s even-toned aesthetic is a credit to an award-winning producer, Graham Ward. From high flying anthem ‘Never Forget You’ to the campfire reimagining of ‘Get Together’, each song is framed by well-defined instrument selection that is balanced well against MARTIN’s vocals. Nothing pops out at the listener throughout the album, instead, each component of the production slots in to help the album progress as one solid unit.

From top to bottom ‘Refugee’ is a solid effort that is well grounded in the roots of rock and full of soul. The album’s most endearing quality is by far its authenticity. MARTIN’s songwriting and delivery flows effortlessly and is immensely emotive. That said, there is no shortage of riffage that will get (and keep) heads banging.

Buy 'Refugee' on iTunes


 

revita fullscreen render

RIVITA, hailing from New Delhi, is an electro-pop artist now residing in Syracuse, New York prepping for the release of her Tribal Love EP. A singer since the age of 5, she has made considerable strides in forwarding her career as a recording artist after settling in the UK and rousing interest after being featured in magazines across the country. Back at home RIVITA won an Indian Music Video Award for her ‘Listen’ music video and has been nominated for awards at a host of film festivals for her for works. Entering the home-stretch before the release of her debut EP ‘Tribal Love’, she has also released her latest music video for ‘W.T.L.I.G R.M.X’.

rivita wtlig artwork

The song itself is a remix of her lead single ‘While the Love Is Gone’. The original song drew upon a minimalist approach. The sonic landscape of the original as compared to the remix is sparse and depended on a lot more on the performance RIVITA delivers. The remix is distinctively avant-garde. The production sacrifices the potency of the vocal and the lyrics therein to up the ante energy-wise. The gamble pays off for the most part as the entire track provides for a sort of trippy and psychedelic ride through the mind that is racing at the speed of light. The video takes its cue from the music and effortlessly compliments the music with guidance from RIVITA’s artistic vision and skills behind the editing desk.

rivita tribal love

Electronic today is rife with hi-fi sonic innovation at the highest levels of the music industry. Vocals are fine-tuned, rhythmic patterns are mechanically tight, and the bass is thumping; you will not find that with RIVITA. Instead, you’ll be drinking in a life’s worth of experience travelling the globe channelled through a focused creative freedom that’s coming straight from the tap unfiltered. For some, RIVITA’s avant-garde do-it-yourself approach may be too raw to be palatable, but underground music junkies will feel all of this. Check out 'W.T.L.I.G R.M.X' below!


Follow RIVITA: Website | Facebook | Twitter | Instagram | SoundCloud | Youtube | Vimeo | iTunes


 

 

Friday, 15 September 2017 06:22

K. Sparks – 'Urban Couture' Album Review

Urban Couture FrontHip hop at its highest ambition is a narrative of urban life and a tribute to the struggles that drapes life in the inner city. It is to that story that K. SPARKS –a native of Queens, New York - contributes with his 2017 offering, ‘Urban Couture’. This is an album that touts the intimacy of deep thought, and the examination of how those who are the products of urban communities wear their experience. It’s a challenging listen that is indeed custom fit for those familiar with the urban experience, but that doesn’t hold back its wider appeal.

The main thrust of ‘Urban Couture’ is the grounding in the personal life of K. SPARKS. This can be heard most prominently in ‘Strip 4 Me’ which does as the title suggest in that it strips away the layers that steal away the intimacy of one’s vulnerability from public view. Personal tales aside, K. SPARKS possesses an incredibly sharp lyrical skill, a savvy mind and an awareness that lends him uniquely able to opine on the state of current state of minority life in America’s inner cities. In ‘Make America Fake Again’ he comments on the fragility of minority perspective with the line, “You can’t tell me how the stock markets doing, yet you know what happened last night on the BET Awards or the latest Jordan shoe…” Powerful commentary litters ‘Urban Couture’ and is one of its crown jewels.

A note has to be made about the exceptional musicality present in this album. If a montage sequence featuring the streets of the Hunts Point section of the Bronx, Jamaica QueensRockaway Boulevard, or Bedford-Stuyvesant project buildings in Brooklyn were a made to be a short-film, producer ES-K would provide the soundtrack with the albums jazzy and earthy tones. As if not evident enough in album opener ‘Flipside’, the album contains enough brilliant instrumentation to easily fill up a year’s worth of performance bills at the Blue Note.

‘Urban Couture’ is an ambitious effort that was executed to near perfection. Though it may lend itself to a niche audience, the energy K. SPARKS brings to his rhymes is anything but a turn off and should endear itself to a sympathetic ear. The album is also incredibly fluid. Even on shuffle, each song flows effortlessly into one another becoming a near flawless musical mosaic. This album should age line a fine wine and prove to be a cornerstone of a hip hop career with infinite potential and a bright future.

K. Sparks Photo 1


 

K. Sparks – Urban Couture

Tuesday, 05 September 2017 15:02

Caelo – Visions EP Review

caelo ep visions coverSeptember is here and with it comes ‘Visions’ an electrifying debut from Cape Town rockers, CAELO. The band itself is a power trio that consists of drummer Michael Dickens, bassist Matthew Winfield, and guitarist/frontman Joel Bronner all of whom perform vocals. CAELO is the brainchild of frontman Bronner after a rush of inspiration while attending a BIFFY CLYRO show some years ago. ‘Visions’ is a full serving of arena rock garnished with the polish of alternative pop packed neatly into a bite-sized runtime with 4 tracks total.

The name of the game with this EP is dynamics. From start to finish, CAELO showcases its command throughout transitions between the albums various peaks and valleys. For instance, the title track and album opener rolls off slow but kicks into gear around halfway through the track but cliff hangs into the succeeding ‘Renegade’ that opens with a gritty distorted bassline. Another crown jewel of this debut is the musicality. CAELO’s three musicians are incredibly tight during groove laden passages like those present in the EP’s final track ‘Catacombs’.

Mixed by drummer Michael Dickens and Richard Harriman, ‘Visions’ is clean, and clear throughout. None of the tracks feels lopsided as they move from the density of the distorted rhythm guitars to open passages that are carried by Joel Bronner’s vocals alone. The drums hit hard when they’re called upon to do so and the bass never steps out of pocket.

The future is bright with a debut like ‘Visions’. It is a solid effort that is laced with music that will keep heads banging, fists pumping and feet tapping. It is also worth noting that CAELO have put together an EP that blends the inspirations and individual musicality of its members perfectly. Each song can stand on its own, be rearranged in any order and still operates and feel like a balanced and cohesive –albeit short- album. ‘Visions’ is an easy listen throughout and can within a diverse rock playlist with acts such as ‘MUSE’, ‘THE KILLERS, ‘ALKALINE TRIO’ etc.,  it can easily hold its own.

Take a Listen Here!

Buy it now on iTunes!


 

 

after robot picKrank’d Up 2017 is almost upon us and there is no doubt that anticipation is building to a fever pitch. From top to bottom the bill is filled with bands that’ll satiate palettes of everyone from the fun-loving concert goer to elitist music snobs. One of the bands set to make an appearance is After Robot. They’ll be making their Krank’d Up debut, but they’re far from being gig rookies. After Robot brings an alternative trippy blues rock style to the stage and is sure to leave everyone begging for more. Here’s what they had to share with us:

KRANK’D UP Ticket Prices: Tickets are now available from Computicket at R500 each.

Tickets are on sale nationwide through computicket.com, as well as at Computicket outlets and Checkers stores.

Krank’d Up is nearly here, how excited are you to hit the stage?

Crazy- Mad hatter – Straitjacket excited !!! – Clifford Bryan 

You’ve built a reputation as one of South Africa’s hardest working bands. How does your debut at Krank’d rank among the things the band has accomplished so far?

Hard work is one of the things that set us aside from other acts. We at After Robot embrace the music we play as our lives. We get our inspiration from our daily existence and being able to get up on an iconic stage such as Krank'd Up is all the reasons why we do what we do!!  - Joshua Pearlson

There are tons of local talent on the bill. Any bands you’ve played with before?

At some point a long the way, we have played with most of the bands. I think there are only 3/4 we haven't shared a stage with, excluding the internationals. – Greg Watson

Listen While You Read on!

Who would you want to tour with regularly after Krank’d UP?

Most definitely! Being a prog fan myself, I would dig having a tour with Savage Lucy and Oh God. I also think an After Robot, De Wallen tour would be pretty powerful Greg Watson

What will you guys be doing at Krank’d while you’re not performing? Seeing any other bands?

This is my 4th Krank'd Up personally, so I will definitely be watching bands, talking crap and drinking beer! – Greg Watson

Let’s talk about the set. Without too much of a spoiler, what can fest-goers expect when they see you guys?

The set is going to start off nice and friendly and progress to a full on crazy high energy party. The only way we know. Krank'd Up to 11. – Clifford Bryan

Which songs do you guys get a kick out of performing the most?

All of the songs we play affect us all in our own special way. The hardest thing to do for us is put a set list together because we like to tell a story with our entire show – Joshua Pearlson

What is your go-to to fill space between songs and how much fun is it to interact with the crowd from the stage?

With Jacques and Greg at times add a little ambience, as I introduce the next tale we are about to tell. It's important to put the crowd in the picture with us. We don't waste much time between songs as that means fewer songs to freak out too. So parrrrrty – Clifford Bryan

after robot pic3

Is there any chance someone will perform in the robot costume what was in the video for your single ‘Bed of Shame’?

Well, you will just have to wait and see hahah! Perhaps....mmm – Jacques Jacobs

How does the band prepare for gigs? Any special pre-show rituals, foods etc.?

The most important thing before a show is to stretch and warm up. We tend to go quite crazy on stage so it's good to make sure the muscles are warm so that we can deliver the best possible show! – Joshua Pearlson

Will After Robot be playing any shows leading up to Krank’d?

We are actually busy preparing our tents as we speak to go rock out at WoodCrock music Festival taking place this weekend at the beautiful Blue Moon in Nelspruit. Then we have Plushy Fest next weekend at Rusty Hook in Honey Dew. We have more crazy stuff coming your way soon, so stay tuned to our social media pages for more After Robot adventures. – Jacques Jacobs

What is in store for After Robots following Krank’d Up?

After Krank`d Up we head to the dust bowl for this year's Oppikoppi. It's the bands 3rd Koppie so we are super stoked to get dirty. As soon as we get the red dust off our smiling faces we get to share the stage with the mighty Alien Ant Farm from the USA on their Joburg leg of their tour. Then the best way to finish off the year is with an After Robot tour.... so stay tuned for more! – Jacques Jacobs

Watch 'Bed of Shame' below!

 

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