PledgeMusic, where bands source funds for recording through their fanbase by offering special goodies for their support, brings up an interesting quandary – when your audience have put their hard-earned into your product, where does a band draw the line between making a record they’re pleased with, and one that pleases the fans? Black Spiders aren’t expected to stray too far from a fairly narrow spectrum as classic rock revivalists, but on this second full-length, the band have brought some different elements into their high-octane rawk an’ rawl that may surprise their fanbase.
Opening up Download Festival 2011 on the Friday night is the band that closed 2009’s festival: Def Leppard. To help get you excited for the first of the summer’s massive fucking rock festivals, here’s a few videos and bits of shit trivia about the Steel City’s finest. Some people might not know!
In the midst of all these festival announcements, there’s been a little old thing called The Grammys taking place in the US of A. And unlike the rubbish mainstream music awards over here in Blighty, where heavy metal’s only nod comes from cursory nominations for Iron Maiden and AC/DC, the Americans aren’t ashamed to have awards for rock and heavy metal alongside all that pop music malarky.
Which is why it’s such a shame that they’ve balls’d it up so royally this year.
Occasionally, a band comes along and everyone’s talking about them – one way or another. Australian newcomers, The Galvatrons are definitely one of them. Emma Edmondson finds out more about them.
Hair metal. Hard Rock. Glam metal. Cock rock. Whatever name you get a tattooist to ink on its skin those who made it, and are still flicking hairsprayed manes on stage in time to twenty-year-old hits, were more famous than Madonna in their hey day.
They rocked thrice harder than any younger than most mayflies Liber-View rip offs think they do nowadays. And, despite some of them having drug habits that’d make Johnny Thunders and Sid Vicious seem like mere amateurs, managed to sell squillions of records and gig tickets.
This live-fast-die-inebriated penchant for hedonism, synths, booze, guyliner, tats, Edam-cheesey choruses and contraceptively tight trousers isn’t history though. There’s a new bunch of hedge haired hard rockers who are wholeheartedly unashamed of being influenced by this poodle permed past – The Galvatrons.
Watch the video to ‘When We Were Kids’ by The Galvatrons
The Aussie four-piece are Van Halen for the cyberspace generation and ignited an A&R frenzy a mere four months into band fruition getting flown over UK way to play a bunch of the satans of all shows – those dreaded industry showcases. Ugh.
“They’re always weird,” admits lead singer Johnny Galvatron. He’s not wrong.
Middle-aged music know it alls standing cross armed in semi-empty atmosphere-less venues nodding nonchalantly while eyeballing a group in the hope they’ll sniff out whether it’s a sinker or seller. Gross.
The Galvatrons – completed by Manny “Maverick” (drums), Pete “Condor” (bass) and Pete “Gamma” (keyboard) – rightfully got stamped with the latter and signed a deal here before even celebrating their first birthday. Phewf.
Albeit looking like a prettier neon clad Towers Of London (the similarities end there thankfully, as there are songs and Johnny’s vocal chords actually function) it’d be small-minded laziness to write The Galvatrons off as some manufactured man band.
Johnny, who initially made his pennies down under penning pop hits for chart humping singers, found inspiration for the band, and its name, in the soundtrack to the 1986 Transformers film he found himself watching after a (very) heavy night out.
Watch an interview with The Galvatrons from Channel Bee TV
A rocker at heart JG saw the stadium potential of combining his pop genius with those rock roots.
“I’d always been a straight rock kid,” he explains. “I wanted to kind of take everything I’d learnt about modern synths and create this electronic rock band and make really inspirational happy cinematic rock. I used to play all the heavy stuff but I realised I wasn’t that angry, actually have quite a nice life and was enjoying myself.”
The product? Laden with more synths than a Europe anthem their debut single, ‘When We Were Kids’, is a full on disco-imploding guilty pleasure that should be blasting dancefloors new earholes from their hometown of Melbourne to Manchester if people have any sense.
In fact, if it was anymore danceable you could put a pair of tap shoes on it and call it Fred Astaire. End of.