Post-Riot Grrrl Quartet How Tragic Unveils Eco-Punk Epic Video for “Goodbye Cruel World”

Big Budget-Looking Video Made On Gonzo Girl Trip During COVID

“…..riot grrrl energy that today’s world needs.”-The Aquarian Weekly

Big corporations are peddling deceiving “disposable plastic.” Recycling programs are being discontinued due to cost effectiveness. And here we are frozen in indecision: what do we do for the ailing planet? Helpless and hopeless, some say f#$@ it, and others get punk rock about it and make a rousing statement. Today, the post-riot grrrl four-piece band, How Tragic, takes a stand with its achingly-beautiful apocalyptic “Goodbye Cruel World” video.

“The world is burning, the ship is sinking, and people are like ‘what’s the point in even trying anymore?’” says the Brooklyn, New York-based songwriter, singer, guitarist, producer, and

director Paige Campbell. “It feels like we can’t do anything to help; it feels like there’s no point in trying; it feels like we don’t know who to believe and what is the truth. There’s a special place for people who still have the fight left in them, and this is their song.”

The “Goodbye Cruel World” video boasts breathtaking landscapes; stylishly, high-concept cinematics; and a captivating video performance by Paige. The backstory behind the video is that Paige, and two of her friends, found themselves stranded together when the pandemic took over. They were confused, terrified, and kind of curious if they could spend lockdown doing something creatively constructive. The trio set out on a cross-country adventure that stretched from the vintage elegance of the Silver Sands Motel in Southampton NY; to North Carolina in a ghostly KMart location being liquidated, and the gorgeous sand hills in Jockeys Ridge State Park; to Bisbee, Arizona at a vacant beautiful hotel and artist retreat and in the desert; and, finally, back to New York City months later with How Tragic reuniting for a filmed street performance at Coney Island.

“Goodbye Cruel World” is a mid-tempo punk song with a touch of 1950s balladry overtones, and it’s as seething as it is sensual, smoldering with ill-fated romantic ideals. One choice passage reads: We hemorrhage apathy, As The World Turns/There’s not much else to do but sit and watch it burn/Goodbye, cruel world/Goodbye, cruel world/and this wasteland/Goodbye cruel world. This is a song for the ages, but we will probably be looking down at our phone checking out influencers, and the meticulously-curated lives on display when the earth explodes in a big ball of fire. But we can’t say we weren’t warned.

Previously, How Tragic (unsigned) has been championed by rock legend Rodney Bingenheimer who introduced the band on his radio show where he premiered the single “Deathwish.” The quartet has issued the 4-song EP, Past Lives—co-produced by Paige alongside producer, engineer, and mixer Matt Chiaravalle (Courtney Love, Debbie Harry, Warren Zevon)—and debuted as a headliner at the iconic rock venue the Mercury Lounge.

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Lorne Behrman releases new video/single “I Hope The Sun Doesn’t Catch Us”

NYC punk rock n’ roll singer-songwriter-guitarist LORNE BEHRMAN today (July 27) shines a light on the history of NYC rock with his Television-inspired song video, “I Hope The Sun Doesn’t Catch Us,” by sharing its video. This is the second single + video from his upcoming solo debut album A LITTLE MIDNIGHT due out September 16 on Spaghetty Town Records. It follows LORNE’s acclaimed 2021 four-song EP When I Hit The Floor, which prompted the esteemed Jesse Malin to note: “Real blood and guts rock and roll that bleeds with soul and redemption.” Watch the “I Hope The Sun Doesn’t Catch Us” video, directed by David J Barron and filmed in Manhattan, HERE. Also read a new Q&A below about the song that will be released digitally this Friday, July 29.

“I Hope The Sun Doesn’t Catch Us” is tough and tuneful NYC rock with a tender emotional heart that embraces the lyrical surrealism and guitar flights of pivotal band Television. The video by LORNE, who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things, was premiered yesterday (July 26) by MXDWN, which noted the video: “…gives viewers an incredible sight of Behrman strumming his guitar with fantastic talent and singing about hoping that the sun doesn’t catch us, as we follow a man and woman on the streets of New York trying to get away from the sun that is blaring down on them.”

The 10-song A LITTLE MIDNIGHT is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed.

“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”

The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.

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Lorne Behrman releases first single from debut album “A Little Midnight”

The “A Little Midnight” single is a slice of dirty rock n’ roll scrapped off of the streets of the Bowery with an introspective heart from the artist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things. “The moonlight looks on good you/Not darkness just silver blue/A little midnight/it’s alright/A little midnight/does you right,” sings LORNE on the song.

A LITTLE MIDNIGHT is a 10-song collection is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The StoogesJames Williamson, Johnny Thunders, and Lou Reed.

“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”

The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.

The track listing for A LITTLE MIDNIGHT is:

01 – Love Stumbles By
02 – Harlem River Serenade
03 – I Can Burn You Down
04 – Monday Morning
05 – Well, I Can’t Hold You
06 – A Little Midnight
07 – You Wont Live In This Past
08 – I Hope The Sun Doesn’t Catch Us
09 – Black Cars
10 – Further On Down The Road

The Sweet Things “Brown Leather”

New York rock’n’roll band The SWEET THINGS are getting back to the roots of rock’n’roll with this new album recorded at Fame Recording studios (ARETHA FRANKLIN , OTIS REDDING, WILSON PICKETT…) Opening song “Brown Leather” sounds as ROLLING STONES as you would have expected from its title. Then, It’s a bit surprising to hear “Ya Know I Don’t Mind” in second position since it’s a slow country blues song but next song “Ride It Home” offers us some good ol’ QUIREBOYS energy. The country influence is quite strong on songs like “Keep On Movin” or “Familiar Faces” but songs like “Cold Feet” or “Mentholated Blues” remind me more of the spirit of early BLACK CROWES. “It Hurts Me Too” and “Ride The River” will take you to the roots of Mississippi blues and you’ll also get an IZZY STRADLIN vibe while listening to “Problematic Life.” This album is a cure for anyone sick of modern auto-tuned music! /Laurent C.

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Scream Idol – Trash Rock a Go Go!

STAR STAR has morphed into SCREAM IDOL, a scary montster for a new degeneration. We’ve asked Johnnie Holliday (vocals/guitar) a few questions about this new incarnation and the STAR STAR days…

You were one of the first bands I interviewed for Veglam back in 2002. I remember thinking it was so cool to be able to talk to you by email since “The Love Drag Years” is one of my favourite albums. A lot has changed since those days for the music world and especially rock’n’roll. How have things changed for you and your music?

-I like much less of the music I hear at clubs now…and…being that I’m the only guitar player now… we only do songs that can be played with the guitar hung very low. We’ve become so comfortable as a trio that I can’t even imagine playing with another guitar player again. Musically we’re closer to what we sounded like when Mickey Mess and I started Star Star. Long before the Love Drag Years of course.

Can you tell us about the name change, going from Star Star to Scream Idol, will you ever play under the name Star Star again?

-We feel too far removed from the band that was Star Star to continue using that name. We felt like a different band for a while now. I’m not saying that we’ve matured or that we’ve cleaned up or anything crazy like that… but, we definitely feel a rush breaking out as a new band man! Will we ever play under the Star Star name again… hmmm…. kinda’ like if I’ll ever fuck an ex-girlfriend again.

You have re-recorded a few songs from your first album “Go Go Girls In Love”, can you tell us why you have chosen to do so? Did you ever think about a re-release of the album?

-When we did that album I had just started singing and we were in this high lifestyle that didn’t allow us to focus. We’ve always felt that those songs never had a fair chance. So we re-did them….. not that I can sing much better now, but, at least I’m a little sober now….ok, maybe not….but, anyway, yeah, we re-did them the way we sound now..

How do you record music in 2021? Do you have your own home studio?

-We carefully set up our recording situation. We basically bought the gear that we use in the studios. We also built a vocal isolation booth that’s also a guitar booth and a laundry room. Technically speaking…we run Universal Audio and Avalon pre’s through UA and Apogee converters.

Can you tell us why you’ve chosen to cover The PARTRIDGE FAMILY’s “I Woke Up In Love This Morning”?

-The first time I heard that song I thought it was the best chorus ever written..and the singer David Cassidy had the coolest hair on TV. It doesn’t have many chords and I could look cool playing it…and we thought we could bring a fresh feeling to it.

You also covered The SISTERS OF MERCY’s “Vision Thing” live. Have you ever thought of recording it?

-Oh yeah man! We’ve already recorded it. Actually we’ve recorded a Sisters Of Mercy medley that we’ve been playing live. It’s gonna’ be released as a dance Maxi Single along with some club remixes later this year.

STAR STAR was a great mix of rock’n’roll, glam and punk. “Soul Sucker” says “Not a punk, not a rocker…”, is this how you feel in the rock’n’roll world today?

-Music has lost its spirit as it conforms to the guidelines of social and streaming platforms. It has strayed from the culture that influenced generations. The music industry has also been cultivating a mindset so that bands will endeavor to sound like other bands. Do you know where that leads? Check out this years Grammy nominees… that’s where it leads. Generic music without attitude or style! It makes clubs less cool, less chicks, less colorful personalities, more straights, less fun, less artistic spiritual freedom. I feel heartbroken by artists condoning censorship…I feel sad for this generation that is discovering the world through regulated mediums… I feel pissed at punks and rockers that parrot establishment narratives. Other than that I don’t like to talk about what our lyrics mean

I’ve read that you were also a club owner in Greece and I remember seeing some cool flyers about glam/goth/punk nights. Can you tell us more about that?

You didn’t see flyers for that club. It was strictly word of mouth. It was a simple metal door on a street in the center of Athens that led to a staircase going down to the club. We only opened on Saturdays and it was always packed. It was also like 70% dance floor. It was a dark wave, goth, industrial, fetish club so we made sure the atmosphere was comfortable for the regulars. The flyers you did see were for parties that we host at clubs in various cities. We do DJ sets, get drunk and meet chicks… sometimes we’ll arrange fashion or music promotions. Those “Trash City Nights” events always attract very interesting crowds. They are nights of madness

Speaking of Greece. How come you’ve chosen to move there?

I had an uncle that was like a father to me. He became sick and I wanted to spend the time he had left close to him. Weeds, Jay and I decided to do it together and make a new start in Europe. Obviously after Jay’s suicide and my accident it wasn’t such a great new beginning…. but we turned it around man.

These last two years have been difficult for many musicians but have you played live with the SCREAM IDOL line-up before Covid?

We’ve played many shows together as Star Star. Jack was our first drummer when we first got to Europe. We parted ways for a while, then reunited when he got back from Brazil… and Scream Idol was born

I learned in your great interview with Suits and The Platform Boots that you lived in Hollywood. Do you think that New York was better for STAR STAR?

Probably not. We struggled with bad habits everywhere we went. I preferred the scene in LA. Going back to NY was more to straighten up and start fresh, and not so much a musical decision.

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Last but not least. It happened more than once when pronouncing your name in France that people thought I was talking about French singer Johnny Hallyday who was over famous here!: )… Ever heard of him?

Yes, of course I was asked that question a lot when I did a French press tour. I listened to a bunch of his stuff. Pretty good songs but not enough guitars!

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The Erotics “Hungover On Christmas” EP

The EROTICS are getting ready to celebrate Christmas their own way with “Hungover On Christmas”, a new song in which you’ll find some good old hard rock influences with a punk rock production. Fans of early WASP will probably dig this one! They also offer us a cover of 1974 Jim Stafford classic “Spiders & Snakes” adding some groove to this 2021 chaotic Christmas. Get the bottles out!/Laurent C.

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Lorne Behrman releases “When I Hit The Floor” single/video

“Real blood and guts rock and roll that bleeds with soul and redemption.” 

Jesse Malin, 2021

NYC rocker LORNE BEHRMAN, the singer-songwriter-guitarist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things, shares his debut solo single + video, “When I Hit The Floor.”

The rocking-but-reflective “When I Hit The Floor”–a song about “substance abuse and hitting bottom,” says LORNE—is the first release from his debut solo EP of the same name, due October 15 on Spaghetty Town Records. The single is now available on all streaming platforms.

The four-song EP When I Hit The Floor was produced by Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog) at NYC’s Mercy Sound Studios and mastered by Grammy-nominated engineer Joe Lambert. Lorne played all the guitars, wrote all the songs, and sang all the leads. Joining him are drummer Hector Lopez (Alejandro Escovedo/The Sweet Things), keyboardist Rob Clores (Jesse Malin, Black Crowes, Alejandro Escovedo), and singer Dana Athens (Jane Lee Hooker). 

The video for “When I Hit The Floor” was directed by David J Barron and set in Brooklyn, specifically the areas of Midwood, Kensington, and Bay Ridge.  The video was shot on 9-minutes of film with a Bolex H16 handheld camera from the 1970s. 

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The Erotics “Ride It To Death” EP

Following their 2020 release “Let’s Kill Rock’n’Roll”, this brand new EROTICS EP has been produced by Don Fury again. “When The Wolves Are Howlin'” opens this new release with some killer glam metal guitar riffs and a chorus that could have been on a WASP album. “Scream Like A Demon” offers us some good heavy rock with a bit of biker rock thrown in it while “Ride It To Death” has a bit of early MOTÖRHEAD in it. You’ll dig “Bless Your Heart” if you like 70s KISS and the last song “Can I Sit Next To You Girl” is an old-school rock’n’roll song with a verse à la ROSE TATTOO. The EROTICS are alive and well and haven’t managed to kill rock’n’roll yet! /Laurent C.

http://www.eroticrocknroll.com/

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