Down To Rock #10 (October 2013)

polaroid_teddy_dtrMy name is Teddy Heavens and I’m bringing you the latest Sleaze/Glam/Punk/Metal and Trash rock and roll news from the Golden State and the streets (and gutters) of Hollywood, California! From the Valleys to the alleys, I’ll find the coolest bands to report on and let you know what’s up from the Rock and Roll capital of the world!
Check out my Glam Punk website at
Bands I’ve been digging the last few months:

Black Oak Arkansas– My music producer, Brian Kehew, just produced their new record in Memphis with 5 new songs to add to some never released songs from the vault. The record is being released by Atlantic and it has my favorite songs of the year “Sweet Delta Water” and “Plugged in and Wired”. Was able to see their show in Los Angeles recently, the first in 40 years at the Whiskey A Go Go, and it was the most “punk rock” performance I have witnessed in a long time! All heart and real rock and roll.

Rusty Tramp– Trashy biker band from Albuquerque, New Mexico, my old stomping grounds. Guns & Roses meets AC/DC and featuring Gutter on bass from the infamous band Durtie Blonde. Give them a spin at:

Venrez– Newish band featuring Alex Kane from Life, Sex & Death that’s been doing some touring with Slash and Alice Cooper, and Buckcherry. Good contemporary hard rock at:

Bangkok 5– Los Angeles new school glam and trashy rock band, who the tastemakers in L.A. are touring right now, check em out for yourself at:

Vintage Trouble-Not glam or punk but good garage blues! Followed them from the smallest clubs in L.A. to arenas with Kiss, Bon Jovi and the Who. Managed by Doc McGee, so you know their juiced up!! Hit them up at:

The Misfits– New record “The Devils Rain” is well produced with some catchy songs, recommended by my LA Death Dolls bass player, Erik Lancaster, and he knows his punk rock shit!!! Boom at:

Michael Monroe band– New CD “Horns and Halos” is the bomb!!! No need to even hype it up, when you hear it, the songs will speak for themselves, as usual.

What’s been up in Los Angeles:

Downtown summer concerts were huge with bands like X and Psychedelic Furs pulling in huge crowds of punks, Goths and heshers.
I was able to hit the Whitesnake/Geoff Tate concert at the Antelope Valley Fair, which brought out every hesher from Los Angeles to hang out. Good sound and good bands and the highlight was when Whitesnake closed the show with the Deep Purple song “Burn”.
The new all female Femme Fatale played at the Roxy with Venrez, but I would prefer if Lorraine Lewis would use the original guys from the band, especially since those guys are from my hometown and it would be more appropriate.
The Peppermint Creeps played their annual show at the Whiskey, keeping the glam/pop thing alive in the city.
Michael Des Barres has a cool radio show on the internet. He’s a hip old glam queen from back in the day, catch him at

I had the pleasure of doing an interview with the LA Nista radio show recently, talking about Los Angeles music scene, which you can check out at :

Finally, just attended a book signing/performance by producer Kim Fowley. All you have to do is Google this guy for his credits, which are amazing. He discovered Slade, wrote for Kiss and Alice Cooper, and produced everyone from Gene Vincent to the Runaways!!! He is currently battling cancer, but is still writing and producing music. Long live the music king of Los Angeles.
Check out his history at: and on Facebook.

If you want me to review your music or write about your event, send it all to:
Teddy Heavens
27750 Firebrand Dr.
Castaic, Ca. 91384


WYLDLIFE is probably still a new name to your ears, but they already have two albums out. The time has come to get to know about one of the best bands in the new US power pop/’77 punk/glam scene!

Can you tell us a bit about the band history? How did you get the idea of changing “Wild” into “Wyld”? The first time I saw the band’s name, I thought it was one of these 80s glam metal revival bands that send me emails every week!…

A lot of people think that at first. I don’t really know how we came up with the stupidest band name in the world. Oddly enough, there is a Christian-youth camp that teaches kids not to masturbate and to pray to God while rock-climbing or some bullshit, but we have nothing to do with any of that. I think Samm and I just watched Bill & Ted’s Excellent Adventure one too many times or something, but really the spelling means nothing.

As far as the history goes, Samm (guitar) and I have grown up playing in bands together, and then when we went off to college, that’s where Spencer (bass) and Russ (drums) got involved. Sadly, we are going to have to look for a new drummer soon, so there will soon be a new chapter of the WYLDLIFE lineup.

When was your very first show? How was it?

You know I can’t really remember the first show that we ever played together since, like I said, it’s been such a long time. But with this lineup, it was probably somewhere in Manhattan or in Jersey City. I remember our first Manhattan show ever back in 2005 (different lineup) at Don Pedro’s. That was fun, I’m sure, trying to sneak alcohol but I’m way happier with where we are at now.

You seem to be touring quite a lot in the US. Favourite cities? Favourite shows so far?

Yeah, these past 12 months was pretty good as far as being on the road goes. We went out three times in 13 months or something like that, but actually, that’s what sort of led to needing a new drummer. Rock ‘n’ roll is a hard life! But the cities we like playing most are Atlanta, Chicago and Milwaukee. We are always treated really well in those cities. Last tour in Milwaukee we got taken out on a party bus and got driven to a strip club where we were treated to lap dances. That was probably the most Motley Crue moment and I think that was one of the most welcoming gestures we’ve ever had!

As you said, touring in the USA is not easy when you’re not a big band with a tour bus and money. Is touring a priority for you?

It’s very fucking hard. You’re eating shit food every day, looking for a place to sleep, some nights you’ll have 10 people in the room; some nights you’ll have 200. It’s a lifestyle of extremes but I love it, because if you don’t love it, you’re gonna fucking hate it. Touring is a big priority only because it’s like a cross-country party when we play in foreign cities! We want everyone to have a good time. Maybe the money will come later, maybe not. But at least we’re going for it now.

Tell us about your album “The Time Has Come to Rock & Roll”… How different is it from the first one to you?

Well, our first record was all controlled by us. Samm produced and engineered the entire thing when we were at school. This new one was like leaping off a cliff for us because we had to trust other people with our music, but we had a feeling it would be OK with production because Tuk (Biters, Heart Attacks) is an awesome dude and a great musician, and Dan Dixon, who engineered the newest record, has made some awesome albums. The sound is a little bit more upfront, the guitars and drums are louder, a little bit sharper without being too slick. Then as the production got greased up a little bit more, the songs got simplified, at least in my head. We just wanted to convey this idea of each song having the ability to listen to while driving really fucking fast to the liquor store.


You’ve just released a video for “The Right!” Was the shooting as fun as the video itself? How did you come up with the pizza idea?

YES THE VIDEO WAS SUPER FUN! The only stressful bits were that it had to be shot in one day, and there are a lot of outdoor shots. It started raining at one point and I was tearing my hair out but once the weather cleared, I was hyped again. My roommate Elena is the main chick in there, and a bunch of my other friends pop up in different parts as well. As far as the concept goes, I love over-the-top violence in exploitation films, and all the double crossing, and just combined that for my love of pizza. It’s such a stupid, silly idea that you have to laugh at it.

Do you feel like you’re part of a new rock’n’roll/power pop/glam scene in the US (bands like The BITERS, PRIMA DONNA, etc.)? Any other US bands in that style we should check out?

There’s a sort of “newest wave” coming out of the US that we are really hyped to be a part of. I don’t think we’re as big as Biters or Prima Donna yet but to be associated with the same scene is awesome. That’s sort of where the title for our second LP came from, that rock ‘n’ roll is coming back in a huge, huge way. And yes, there are plenty of other bands to look out for, The No Tomorrow Boys, Dinos Boys, The Barreracudas, The Cry! Glitz, Hammered Satin… Probably a ton more I’m forgetting that will all be on the come up.

Rock scenes in America used to be linked to cities (Los Angeles for glam metal, Seattle for grunge, etc.) Do you think that something like this could still happen in this Internet age?

Not really. I mean every city has its own identity and its own little rules but as far as the sound goes, the internet sorta made everything everything, know what I mean? That’s pretty much the only good thing about the internet was that it made it really easy to find out about bands in different cities.

What are the first and last albums you bought?

The first album EVER? Fucked if I know. Probably some Oasis CD from Sam Goody or something. Last album I bought was the new Shocked Minds S/T LP, which everyone should get, as well as the new Oblivians LP, Desperation.

First and last tattoo?

Fun question. First tattoo I ever got were the words “BROTHERS BE BROTHERS” on my wrist, which is basically the only tattoo that has any real meaning to me. The last tattoo I got was Death holding a naked chick’s tits across my entire back. I still have a few sessions to go on that one but it’s looking pretty gnarly.

The EXPLODING HEARTS are listed in your influences. How did you get into them?

I actually have an Exploding Hearts tattoo as well! Myself and Samm have listened to them since we were in high school,probably a couple years after they died. They were amazing and I’d love to have met those guys and hear what they’d be doing now, but there is something really beautiful about leaving behind a flawless record in their wake, meaning, they never wrote a bad song. And “Shattered” I think is the best song they wrote so they were only getting better. Hearts forever!

Any chance to see WYLDLIFE in Europe soon?

It’s certainly not out of the question. If anyone out there reading this wants to help us set up a European tour and bring the party across the pond, we would be more than down to head over.

Wyldlife on Facebook

Michael Monroe “Horns and Halos”

-Record review by Anguish Young

“Every day, I feel like running away… much as I did as a teenager in Vermont in the ’50s. But now, there’s nowhere to run to. All the cool places have been ruined. Soon, we will all be evicted from the planet, and so the world will end just as I leave it.
What will emerge from the polluted, radioactive primordial soup that’s left [after all the higher life forms are extinct] remains to be seen, but the gods have infinite time to come up with something more interesting than what’s left of the human race.”
(-Peter Crowley)
MichaelMonroe-HornsAndHalosQuick! Tell me the best remaining rock band on the planet. You probably said Motorhead, Jim Jones Revue, Beasts Of Bourbon, or Michael Monroe, right? Maybe a couple of you thought Morrissey, Manic Street Preachers or Primal Scream. I’m partial to Tango Pirates and Captain Zapped. Best frontman? Did you say Iggy, Idol, Tyler, Jagger, or Michael Monroe? If you like rocknroll, and you ain’t talkin’ ’bout AC/DC, Joan Jett, or the Stones, chances are, you’re usually most likely still yappin’ on about ageless glam rock peacock, Michael. We always come back to Michael. He never sold out, never cashed in, never gave up, never crapped out. Michael Monroe endured it all ten times, overcoming every setback and tragedy known to man, kept coming back again and again, a constant inspiration to millions, worldwide. On solo lp’s like “Nights Are So Long” and “Peace Of Mind”, Monroe has always made category defying rocknroll music that shocks, rocks, and shakes us. Powerful originals like “Dead, Jail, Or Rocknroll”, “Loneliness Loves Me More”, “Make It Go Away”, and “Smokescreen” have soothed our broken hearts, stirred us to form our own glam bands, sound tracked our love affairs and long lost nights of drunken debauchery. He made a couple of awesome comeback records with Hanoi Rocks that produced more memorable hits-“People Like Me”, and the chilling, “Center Of The Universe”. He’s always surprised us with the coolest covers by artists as diverse as the Damned, Hoyt Axton, Alice Cooper, the Deadboys, and Leonard Cohen. The man’s got fabulous taste, tons of heart, and seems to eat well, because while the rest of us age, he still high kicks and jumps around like he’s twenty. “Classic Rock” magazine voted his last record “Sensory Overload” album of the year and “Little Steven’s Underground Garage Radio Show” listeners voted his song, “Trick Of The Wrist” coolest song of the year.
His latest guitar bender, Steve Conte, has already co-written timeless anthems like, “Temptation To Exist” and “Plenty Of Music” with the surviving members of NY Dolls, and has similarly shattered the long odds and even managed to win over the majority of impossible to please Cult Of Thunders die-hards. Sami Yaffa, you all know as the living legend from Hanoi Rocks, Jetboy, Smack (briefly in L.A.), NY Dolls, Mad Juana, and the Compulsions. Dregen from the Backyard Babies and Hellacopters replaced Ginger from the Wildhearts, and since Dregen’s got his own album and tour to do, Rich Jones from the Black Halos, Yo Yo’s, Ginger, Neil Leyton, Yo-Yo’s, Amen, etc., has stepped up, to fill-in on theis new tour. Karl Rockfist, you know from Chelsea Smiles, Danzig, and Dizzy Reed. This is an unparalleled revolving door roll call. The best of the best, so expectations are high. The smash hit single, “Ballad Of The Lower East Side” rocks like “78”, their last smash debut single, it cribs a line from one of the Rolling Stone’s best 45’s and takes us on a crash course tour of the gritty, industrial, burntout backstreets of beautiful, badass, bohemian NYC… before far right extremist Mayor Rudolph Giuliani closed the after hours pubs, 9-11, the surveillance state, media-monopoly fed, mass consumerism and conformity, stop n frisk, NYU landgrabs, the billionaire nanny state, the perversely jacked-up rents and gratuitous ongoing Disneyfication of the city formely known as the melting pot, by despicable one percent mayors and their thug police that billionaire Mayor Bloomberg proudly refers to as, “the world’s sixth biggest army”.
Even dapper old rich guy David Byrne groans about how the global elites and their trust funded children have squeezed all the egalitarian heart and artistic genius out of Lower Manhattan. Patti Smith says “Don’t Come Here”. The gilded age banksters and war profiteers want us all dumb and running on the hamster wheel, competing with one another, and focusing numbly on idle heiresses, video games, diet products, marrying-up, plastic surgery, divorce and pre-nup’s. Waving flags and chanting “Woof, woof” like dogs, rooting for war like it’s merely sports. We’ve had to all, at least, contemplate the hard fact that the people on top of the capitalist pyramid are actively eviscerating our civil liberties, building internment prisons while closing our schools, groping us in our airports and chemical spraying us in our public squares, spying on us, crackingdown brutally on free speech, and pushing us out of our traditional bohemian enclaves, actively depopulating with their Monsanto toxic foods and bad medicines, pollution and nuclear radiation. In uncertain times, we deserve real rocknroll with a rebellious spirit, that reflects the reality of our situation and encourages the young to resist the inhumane injustices. Dregen delivers “Child Of The Revolution” to “Horns & Halos”, and it, too, is outstanding. It’ll remind some dedicated listeners of “Teenage Revolution” from “Street Poetry”. Michael and his glorious gang of eternal teenagers always pay homage to the old school cool of Downtown, when even us working class libertines and punk rockers could still find a rat’s nest squat, or share a rundown hovel with other runaways, musicians, film makers, drug dealers and hookers, before the hedge-fund managers and lawless white collar criminals overthrew our justice system, and drove everyone away from NYC except for the Olsen Twins and Lenny Kravitz, and those bridge and tunnel white shirted bullies of the enforcer class. Who the fuck has four grand a month for a shoebox apartment in a neighborhood full of shitty chain stores and jet-setter designer label garbage? For what? Even our historical landmarks are systemically being erased and replaced with awful shit for horrid, rich, slave owning pigs. Corporate music sucks beyond belief. Way worse than it did, even in the insufferable, 90’s black days of phony “alternative” marketing and moaning grunge Tarzans. Meanwhile, Mike and his dizzyingly energetic crack team of swanky, quick draw artistses keep the authentic gutter soul and delinquent spirits of Stiv Bators and Johnny Thunders close-by, even as their explosively epic aural assaults also bring to mind stadium pop of Cheap Trick, and the F.M. radio rawk of Golden Earring, Mott The Hoople, Nazareth, and Rose Tattoo. Michael’s always excelled at the rebel songs-think back to “While You Were Looking At Me”, “Smokescreen”, and “Too Rich To Be Good”, etc., and “Horns & Halos” does not disappoint.These cats are stylistically all over the place, as usual, sounding like fifties Little Richard, or the Heartbreakers one minute, or Guns N Roses, or 69 Eyes, the next. Hopefully, his also talented, sometimes songwriting collaborator, Ginger is making a cool mint performing alongside Courtney Love, so he won’t always have to resort to relying on the fanbase to finance his frolics with Kickstarter campaigns. You know the economy has really nosedived when even bigtime marquee, namebrand artists, of Ginger’s caliber are apparently struggling to record and release their own independent music. Ginger co wrote the exquisite “Superpowered Surperfly” and other class tunes on the last Michael Monroe album, before returning to his own headline making songwriting juggernaut and well known crowdsourcing approach to fundraising. Monroe only works with the top guns in the music biz. I’ve still never heard the Jerusalem Slim cd he and Sami recorded with Steve Stevens and Ian McLagan, but I hear Stevens has started a new band with Duff and Sebastian Bach. I have very much enjoyed Monroe’s collaborations with Slash, which are probably, next to Izzy’s albums, the best work we’ve heard from Guns N Roses alumni since Michael guest starred on their punk covers album twenty some years back.

Andy McCoy remains one of the world’s premiere rocknroll guitar virtuoso’s, but has chosen to pursue his painting, and television shows in recent years, introducing us to his Finnish gutter rock hellions, Greasy Helmet, who are the throwback essence of nasty comic-book metal, a bit like Buck Cherry without the brains, and while there’s obviously no replacing an artist of McCoy’s musical stature, Mike Monroe’s carousel of creative collaborators like Nasty Suicide, Jay Hening (R.I.P.), Stevie Klasson, Slash, Dregen, Ginger, and Steve Conte have all done a heroic job of maintaining that top-notch quality level that fans of glam rock’s favorite frontman take for granted. Some fans say Michael Monroe’s current line-up are providing an infinitely more satisfying rocknroll experience, than most any of their former peers, by not limiting their songwriting to a narrow subject matter, and by avoiding tiresome, eighties adolescent, formulaic themes, like so many stunted hairband veterans. Michael Monroe has never been the least bit inhibited about exploring various musical sub-genres, it’s all punk rock to him, his last platter co-starred Lemmy and Lucinda Williams, that vintage Hanoi Rocks stardust always glinted with sparks of surf, disco, reggae, echoes of the Cramps, the Clash, etc. The same holds true now, as probably my favorite song on the last Michael Monroe l.p. was almost Gram Parsons style Americana, more cosmic cowboy, than cosmic ted. His latest side has bits that will call to mind everyone from Aerosmith to the Waldos to the Alarm to Joe Strummer & The Mescaleroes.
Wealth inequality and shock doctrine austerity have made real street rock an endangered species, just like Mike sings on Demolition 23. Alley brats, like most of you and me, can’t even afford a rehearsal space or new guitar strings in the darkening age of eight twenty five an hour, that’s minimum wage here in the states, so we deeply value these last few, precious, real rocknrollers who still have something genuine to communicate, more and more with each passing year, even as we keep ailing icons Little Richard, Billy Rath, Henri Paul Tortosa, and Bootsey X in all our rocknroll prayers. Michael Monroe and his scrappy lads still dress like they always did, they still make music like they always did, with nary a concession to any of the soulless mousepad muzak the corporations have pushed on us all, against our will, for these past twenty odd years.
I like that “Horns & Halos” comes with a handsome booklet and lyric sheet. Album opener, “TNT Diet” kicks off with an audio assault against gloomy grunge poseurs and insincere hipster types who pay top dollar for fashionably distressed attire to make it appear as if they worked in the carwash all day. Pure UK Subs style punk aggression. Somebody pissed him off. “Eighteen Angels” is lyrically elegant with a slinky groove, sure to move the hips of your favorite bombshell barfly, it’s cool, Stones-style funk with a helluva harmonica hallelujah rousing the ghost of Little Walter, or at least sayin hi to ole Sugar Blue. “Saturday Night Special” is a blazing little number about the ill advised perils of self destructive tendencies, penned by Mister Steve Conte as a bit of a cautionary tale, and a reminder to us all. Michael really sings the glitter offa this one here. “Stained Glass Heart” is another one that really impresses one, with Michael singing exceptionally well, at the top of his game. Looks like Dregen and Steve co-wrote that one, it’s the best new song I’ve heard in quite some time. It’s pretty, poetic, with an essential and uplifting message to the real rocknroll people: “Love remains and we will carry on!” Brilliantly played guitars. “Stained Glass Heart” is a #1 hit in this aging desperado’s ultra-underground. Just this much would be more than most lingering rock revival acts could still deliver, but wait, the best is yet to come. “Horns & Halos” is a sneering, philosophical rabble-rouser, about how we all have darkness and a sinister side, but also, always the infinite, and instant capacity for forgiveness, truth, and being COOL, anytime, we so choose. “Child Of The Revolution” is really touched with grace, and makes me want to hear Dregen’s new solo album. “RISE UP! YOU’RE A CHILD OF THE REVOLUTION!” is the song I’ve been waiting to hear from these guys, since the brownbag corner gang favorites, “Scum Lives On” and “Hammersmith Palais” set the bar so high. “Soul Surrender” has an urgent chorus and a skanky reggae tinged vibe, shot through with more of Michael Monroe’s trademark positivity and pure white light. “Half The Way” is driving rock with gutsy vocals and sleek musicianship. “Ritual” is another highlight, it’s really unique, a thing of gothic beauty and noir sensuality, like the Lords Of The New Church meets Mick Taylor era Rolling Stones. Artistically, a triumph. “Ritual” is kinda…well, mystical. “Hands Are Tied” is an anti-drug anthem. And thus ends another classic from an unstoppable band that just can’t fail. Well worth your investment.

Superhorrorfuck “Death Becomes Us”

SHFDBUThis is already the 3rd album of these flashy Italian horror rockers. Still addicted to grand guignol (just look at the cover photo) and playing some sleaze injected metal that will remind you of WEDNESDAY 13, and sometimes of fellow Italian rock’n’rollers HOLLYWOOD KILLERZ (“Down At The Graveyard”, “Horrorchy III”), SUPERHORRORFUCK is now a well known name in the European horror rock scene.
On this brand new release, songs like “Love After Death” and “Headless Groupie” can appeal to MARILYN MANSON fans while “Voodoo Holiday” Threesome With The Dead”, or the punk metal anthem “Break Your Shit” can be played loud on more festive occasions such as Halloween parties or Zombie Walks. While the band maintain their fun colourful image on a high level, they can get darker musicwise, flirting with goth metal on “Ante Mortem Pictures”, and this fits them quite well since it is one of the best songs on this new album.
Now, I’m not sure why the band released the “Gore-Geous Dead” EP since those 4 songs are included on this album, and I wonder if the bonus track “Holy Zombie” was really needed, but apart from that “Death Becomes Us” should definitely be on top of your Halloween playlist this month along with CADAVER CLUB’s album./Laurent C.

Cadaver Club “A Fate Worse Than Life”

CadaverClubCoverHorror rock is quite a large category, but when you think about horror punk, it’s hard to avoid mentionning The MISFITS, and CADAVER CLUB know it well (“I’m Making a Monster, Baby”, “Do You Dig Graves?”…) Although they come from rainy England and describe their music as funeral punk (“The spectacle of ALICE COOPER with the energy of The RAMONES” in their own words), it’s hard not to think about Californian glam punk bands like the PEPPERMINT CREEPS for instance when listening to “Lunatic In Love”, “Dead Air”, “No End To Me” or “My First Hate”. The TRASH BRATS also come to mind at times ( “Vampires Ain’t What They Used To Be”, “Bat Among The Pigeons”.)
In 13 songs coming out in a cool spooky looking digipack, these Mancunian undertakers manage to get you hooked with werewolf anthems (“Lunatic In Love”) and death rockin’ party hits (“Where Dreams Go To Die”, “My Rictus Smile”.) Dressed up in Victorian clothes and corpse paint, they will also surprise you with 50s/60s touches here and there.
Don’t look further, this is THE Halloween 2013 record! As the GROOVIE GHOULIES used to sing, til’ death do us party!/Laurent C.

Seventh Veil “White Trash Attitude”

SeventhVeilWTAThe Italian gang is back with 10 songs (they released a 3 song EP last year) still influenced by 80s Sunset Strip bands and melodic heavy rock. Sometimes reminding of “Girls Girls Girls” (Obviously one of their favourite albums as the band’s name suggests) Crüe era in the guitar riffs (“Red Light In Your Eyes”, “Are You Ready To Die?”), SEVENTH VEIL has their roots in European heavy metal before all (Steven’s vocals, the guitars and double bass definitely sound more heavy metal than glam metal, just listen to “Sister Cigarette”,”No Fear” or “Slimy Snake” …)
The melodic hard rock side of the band is actually what fits them the best on this album, even if can mostly be heard in just one song (L.A. Dream”) this time.
The musicians can play, the singer can sing, but in the end, the songs on “White Trash Attitude” suffer from a serious lack of hooks. Maybe next time?/Laurent C.

Saturday Overdose “Eat My Dust” EP

SaturdayOverdose80s influenced hard rock with a modern sound as you can hear in the first and powerful track “Free Bones”, you won’t be surprised if I tell you that SATURDAY OVERDOSE come from Italy.
Falling in the cheesy ballad territory with the second song “Don’t Care About The Rain” would have been almost logical, but the chorus has a surprisingly 70s flavour that makes the whole song quite good, and much better than “Anthem For a Dream.” 2 ballads on a 5 song EP might be too much for me, but this doesn’t spoil the fun:”Fallin’ Apart” has a killer sleazy SKID ROW kind of guitar riff, and “Fucking Mustang” is an enjoyable piece of modern hard rock. Just give it a try!/Laurent C.