I work on Saturdays, which seems to be when they have these events. Luckily there is some video! Here are a couple of videos with some short clips from a recent Robotspeak event courtesy of Franck Martin.
I had a really cool time getting to see The Flesh Eaters. This was interesting to me ’cause the last time they played in 2015 my band Andalusia Rose opened for them at Great American Music Hall…the time before that in 2007 at Slims my band with Javier Matos “Hud” opened up for them, which was the first time that classic line-up reunited in a really long time. Before that in the 90’s, as most of you know, I played guitar with the band and we released an album in 1999. So this was the first time I got to just watch the band and enjoy the music without being in that headspace of having to perform or load gear or whatever.
The chemistry between these guys is awesome, and having played a lot of these songs in a line-up that consisted of 2 guitars, I worked the most with Larry Schemel currently of Death Valley Girls, getting to hear the sax and vibes treatment was really cool. They even played a song I co-wrote from that 1999 release and that was a trip and an honor to hear coming from these guys. They also had a copy of our cd Ashes of Time along with the classic albums at the merch table.
There are still a few old fart punk bands out there and these guys have been around as long as anybody, but these were some dapper gentlemen laying down some heavy vibes (no pun intended…well maybe yes, the vibes were the loudest thing in the mix last night!) Hahahaha! Great show and an excellent turn out for a Sunday night! Glad I went.
This video shot by my friend Lil Mike actually captures a funny moment where Chris remembers, onstage that he forgot to put a certain someone on the list…someone who played guitar for him for years! hahaha! It was well worth the price of admission. Enjoy the fellas versions of “Green Manalishi” by Peter Green and “She’s Like Heroin to Me” by The Gun Club.
We’re pretty excited to announce the dates for our upcoming European tour! We will be in Italy, Switzerland, Germany and Austria! We have 15 dates confirmed and 1 TBA.
Get the album Heavy Metal Mothership via our Bandcamp:
09.02.2018 IT Pescara-Scumm
10.02.2018 IT Castel Fidardo-On Stage
11.02.2018 IT Pastrengo-Fabemolle
12.02.2018 IT Zerobranco-Altroquando
13.02.2018 IT Torino-Blah Blah
14.02.2018 DE Stuttgart-Goldmark
15.02.2018 CH Olten-Coq D’or
16.02.2018 AT Bludenz-Villa K
17.02.2018 CH Winterthur-Gaswerk
18.02.2018 AT Salzburg-Rockhouse
19.02.2018 DE Dresden-Ostpol
20.02.2018 DE Berlin-Jagerklause
21.02.2018 DE Weimar-Gerber3
22.02.2018 DE Leipzig-Black Label
23.02.2018 DE Mannheim-7Er
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Happy 2018! I hope you have a long lunch break or better yet, the day off, because this is a long one. Totally worth the time though. Use headphones and immerse yourself in the studio with these guys, the audio is in stereo. This is an excellent piece of dark ambient from 2015, created with a load of vintage and modern gear including old Roland drums and a Buchla synth.
Here’s some text from the video description:
“The release notes for their recent collaborative album, A.R.T, perhaps unfairly characterises Tobias Freund and Max Loderbauer’s foray into dark ambient as “genre tourism.” The heady experimentalism of concept-driven recorded work from the duo’s inception in the early 2000s has seen them tackle reductionist technoid minimalism for Cadenza, craft an album of pieces composed solely with drum machines, and produce the longplayer NSI. Plays Non Standards which featured minimalist drones at the intersection of modern acoustic piano (played by Loderbauer) and electronic abstraction (as manipulated by Freund). Their acclaimed, yet infrequent, live sets have regularly skewed towards the organic and tonal qualities of the ambient aesthetic, functioning as a counterweight to the defined parameters of their celebrated output for Sähkö Recordings and Freund’s own Non Standard Productions. The relative rarity of their live performances can be attributed to the sheer amount of analog gear required to realise the specificity of their sound design, as witnessed in this live capture: a fascinating mind trip through layers of deep submersion, simmering otherworldly eeriness and industrial pulses.”