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Grass Skirts and Pompadours: Scenes form the Psychobilly Luau
By Alexander Thompson
They say that the Cramps were the precursor to the psychobilly movement, so it only
seems right that the fifth annual Pyschobilly Luau music festival is held in the New
York City punks' former territory. This year's weekend-long festivities brought out
bands from around the world, including old-school punks The Klingonz from Ireland,
who dressed in whacky clown drag, and UK teddy boy rockers, Furious. Other acts
included Boston's Tex Railers Doomtown, as well as local favorites the Memphis
Morticians and The Arkhams. Brooklyn's newest band on the scene, The
Screaming Rebel Angels, fronted by lovely event producer Laura Rebel Angel, was
a refreshing new highlight. And a thumb's up to the young gentlemen in
Phoenix-based gothabilly band The Limit Club, who performed a fun version of
Bauhaus' "Kick in the Eye." German dj's Spy and Fussl kept the crowds
entertained, spinning incredible sets which included classic pyschobilly bands like
The Meteors and Batmobile. Check out my photos above from all of the pyscho fun.
(Published on Jul. 26, 2011 - Papermag.com)
By Alexander Thompson
They say that the Cramps were the precursor to the psychobilly movement, so it only
seems right that the fifth annual Pyschobilly Luau music festival is held in the New
York City punks' former territory. This year's weekend-long festivities brought out
bands from around the world, including old-school punks The Klingonz from Ireland,
who dressed in whacky clown drag, and UK teddy boy rockers, Furious. Other acts
included Boston's Tex Railers Doomtown, as well as local favorites the Memphis
Morticians and The Arkhams. Brooklyn's newest band on the scene, The
Screaming Rebel Angels, fronted by lovely event producer Laura Rebel Angel, was
a refreshing new highlight. And a thumb's up to the young gentlemen in
Phoenix-based gothabilly band The Limit Club, who performed a fun version of
Bauhaus' "Kick in the Eye." German dj's Spy and Fussl kept the crowds
entertained, spinning incredible sets which included classic pyschobilly bands like
The Meteors and Batmobile. Check out my photos above from all of the pyscho fun.
(Published on Jul. 26, 2011 - Papermag.com)
Punk rock instigation at the Mill
Henchmen, Battle Scarred Saints, the Limit Club
The Mill
Aug. 3
by Paul Bowers
Certain things have to be present for a punk show to work. There is the music, of
course, and there is the venue, preferably a sticky concrete cave. But there also has
to be an instigator.
Wednesday night (Aug. 3) at the Mill, that instigator was Joel Candelaria, lead
vocalist for Battle Scarred Saints. Opening for two out-of-town bands, the Saints won
the crowd's hearts with working-class hardcore tunes that hearkened back to a time
when punk was scary and anything but commercially viable. Playing no instrument
save for a sandpaper throat, Candelaria was at once a feral and charismatic
presence, flexing like a tough guy and accepting hugs from tipsy patrons during
interludes. And when bandmate J.R. Tindal had finished his last furious bass run, and
the room had ceased to echo with the band's crass anthems, Candelaria stuck
around to stir things up.
Phoenix-based outfit the Limit Club took to the floor next, playing a young 'n' hungry
take on psychobilly, complete with upright bass and greased-back hairdos. And
while the music could stand on its own merits, the crowd might not have danced so
hard if not for the skanking, wrecking whirlwind that was Candelaria, whipping the
moshers into a frenzy like some punk rock cheerleader.
The band ate it all up and played with mounting ferocity. Drummer Juan Carlos
Larios bounced on his feet for the entire set as guitarist Nick Feratu and bassist
NickDave cranked out vocals that shifted from goth-rock baritone to screamo
screech at the drop of a hat. The scrappy-looking NickDave (who would not give his
last name) straddled the bass and thrummed it like a maniac when Feratu took to the
microphone to spit out a Gatling-gun lyrical burst.
The crowd started to thin around midnight, partway into the final act, Los
Angeles-based trio Henchmen. Their muscular, left-coast punk sound was rounded
out by upright bassist Steve Rejon's rumbling fretboard runs and vocalist-guitarist
Eric Razo's precise, needling solos. The group's strongest moments were their
extended instrumental onslaughts, including a warp-speed interpretation of classic
surf-rock riffs that earned grinning nods of approval. Unfortunately, the crowd had lost
its critical mass by that point, and the band showed signs of road fatigue for the first
half of its set. The mood was salvaged, though, with a faithful unearthing of
Motörhead's "Ace of Spades" that brought Razo to a fighting stance and rewarded
the barflies who'd stuck around with a flashback to the glory days.
(Published - Charleston City Paper - August 4, 2011)
Henchmen, Battle Scarred Saints, the Limit Club
The Mill
Aug. 3
by Paul Bowers
Certain things have to be present for a punk show to work. There is the music, of
course, and there is the venue, preferably a sticky concrete cave. But there also has
to be an instigator.
Wednesday night (Aug. 3) at the Mill, that instigator was Joel Candelaria, lead
vocalist for Battle Scarred Saints. Opening for two out-of-town bands, the Saints won
the crowd's hearts with working-class hardcore tunes that hearkened back to a time
when punk was scary and anything but commercially viable. Playing no instrument
save for a sandpaper throat, Candelaria was at once a feral and charismatic
presence, flexing like a tough guy and accepting hugs from tipsy patrons during
interludes. And when bandmate J.R. Tindal had finished his last furious bass run, and
the room had ceased to echo with the band's crass anthems, Candelaria stuck
around to stir things up.
Phoenix-based outfit the Limit Club took to the floor next, playing a young 'n' hungry
take on psychobilly, complete with upright bass and greased-back hairdos. And
while the music could stand on its own merits, the crowd might not have danced so
hard if not for the skanking, wrecking whirlwind that was Candelaria, whipping the
moshers into a frenzy like some punk rock cheerleader.
The band ate it all up and played with mounting ferocity. Drummer Juan Carlos
Larios bounced on his feet for the entire set as guitarist Nick Feratu and bassist
NickDave cranked out vocals that shifted from goth-rock baritone to screamo
screech at the drop of a hat. The scrappy-looking NickDave (who would not give his
last name) straddled the bass and thrummed it like a maniac when Feratu took to the
microphone to spit out a Gatling-gun lyrical burst.
The crowd started to thin around midnight, partway into the final act, Los
Angeles-based trio Henchmen. Their muscular, left-coast punk sound was rounded
out by upright bassist Steve Rejon's rumbling fretboard runs and vocalist-guitarist
Eric Razo's precise, needling solos. The group's strongest moments were their
extended instrumental onslaughts, including a warp-speed interpretation of classic
surf-rock riffs that earned grinning nods of approval. Unfortunately, the crowd had lost
its critical mass by that point, and the band showed signs of road fatigue for the first
half of its set. The mood was salvaged, though, with a faithful unearthing of
Motörhead's "Ace of Spades" that brought Razo to a fighting stance and rewarded
the barflies who'd stuck around with a flashback to the glory days.
(Published - Charleston City Paper - August 4, 2011)
The Limit Club: This Is Cutthroat Business (2011)
The gentlemen from Phoenix’s The Limit Club want you to swing through the
apocalypse. If you happen to have their 2011 release This is Cutthroat Business on
hand at the end of the world, you’ll probably want to follow their advice; the twelve
tracks on the new album will have you swinging, shaking, rocking, rolling, and
reeling into a psychobilly frenzy.
The album kicks off with the aptly named tune “Swing Through The Apocalypse.”
The track opens with a low electronic whine and beep, followed by the slow steady
beat of former Quakes drummer, Juan Carlos, mixed with chatter, throat clearings,
and electroscreech, then joined by the minor key wail of Nick Feratu’s guitar. After a
moment of chatter and a subtle cough, the steady thump of Nick David’s double
bass joins in and Nick Feratu starts to sing.
Now, back in the early days of The Limit Club, on the 2008 release, Phantom Cats,
Feratu sang “I’m just a music business man, entertaining and charming, too.” In the
few years since he recorded Death to You (one of the most humorous gothabilly
songs you’ll ever hear, by the way, and pleasantly morbid, as well), those words still
ring true, but now Feratu has honed his low-slung voice to a smooth, horror punk
perfection. Although Swing isn’t really a “swing,” you’ll find yourself swaying along
to the hypnotic, slightly psychedelic sounds that accompany the lyrics:
“Swing through the
Apocalypse
That’s the treatment I prescribe
Amongst the
reams of twisted metal
We’ll be shaking our fat jive
Get groovy as your
bones break
And your flesh melts from your hands
Pull the switch and
execute
For one last sacred dance”
Environmental politics meets psychobilly is probably an entirely new concept, but it
works. What works even better is the follow up number, “Shake.” The Limit Club
premiered their first video for this catchy number, and it’s well worth catching (click
thumbnail):
The title track, “Cutthroat Business”, makes me think of a more visceral version of
Rancid’s “Last One to Die”:
“Well I ain’t got time to sit around
While you wallow in a rut
I’m making
headlines and keeping dates
It looks like you’re getting cut
This is cutthroat business
The door was open, now it’s shut
This is cutthroat business
If you ain’t cuttin’ throats, then you get yours cut!”
I was thrilled to see TLC hit their punk side straight on with “I Hope You Hurt.” Juan
Carlos shows off his virtuoso drumming on this breakneck speed ode to revenge. I
think it might be my favorite song on the album, perhaps second to “Shake.”
Finally, many (many, many) bands cover Bauhaus. When I find a band that does it
well, I want to trumpet it to the sky. The Limit Club manages to make “Kick in The
Eye” their own. It’s great on the album, and even better live.
All of the tunes on “This is Cutthroat Business” will satisfy the most insatiable
psychobilly fan. My only wish is that the band would branch out a bit more and show
us more of their punk chops. These guys are really talented musicians, and they
stand out in a crowded psychobilly field. If they spread their wings a bit, perhaps
there would be no limits for The Limit Club
(Published August 2011 - DOOM! Magazine www.doom-magazine.com)
The gentlemen from Phoenix’s The Limit Club want you to swing through the
apocalypse. If you happen to have their 2011 release This is Cutthroat Business on
hand at the end of the world, you’ll probably want to follow their advice; the twelve
tracks on the new album will have you swinging, shaking, rocking, rolling, and
reeling into a psychobilly frenzy.
The album kicks off with the aptly named tune “Swing Through The Apocalypse.”
The track opens with a low electronic whine and beep, followed by the slow steady
beat of former Quakes drummer, Juan Carlos, mixed with chatter, throat clearings,
and electroscreech, then joined by the minor key wail of Nick Feratu’s guitar. After a
moment of chatter and a subtle cough, the steady thump of Nick David’s double
bass joins in and Nick Feratu starts to sing.
Now, back in the early days of The Limit Club, on the 2008 release, Phantom Cats,
Feratu sang “I’m just a music business man, entertaining and charming, too.” In the
few years since he recorded Death to You (one of the most humorous gothabilly
songs you’ll ever hear, by the way, and pleasantly morbid, as well), those words still
ring true, but now Feratu has honed his low-slung voice to a smooth, horror punk
perfection. Although Swing isn’t really a “swing,” you’ll find yourself swaying along
to the hypnotic, slightly psychedelic sounds that accompany the lyrics:
“Swing through the
Apocalypse
That’s the treatment I prescribe
Amongst the
reams of twisted metal
We’ll be shaking our fat jive
Get groovy as your
bones break
And your flesh melts from your hands
Pull the switch and
execute
For one last sacred dance”
Environmental politics meets psychobilly is probably an entirely new concept, but it
works. What works even better is the follow up number, “Shake.” The Limit Club
premiered their first video for this catchy number, and it’s well worth catching (click
thumbnail):
The title track, “Cutthroat Business”, makes me think of a more visceral version of
Rancid’s “Last One to Die”:
“Well I ain’t got time to sit around
While you wallow in a rut
I’m making
headlines and keeping dates
It looks like you’re getting cut
This is cutthroat business
The door was open, now it’s shut
This is cutthroat business
If you ain’t cuttin’ throats, then you get yours cut!”
I was thrilled to see TLC hit their punk side straight on with “I Hope You Hurt.” Juan
Carlos shows off his virtuoso drumming on this breakneck speed ode to revenge. I
think it might be my favorite song on the album, perhaps second to “Shake.”
Finally, many (many, many) bands cover Bauhaus. When I find a band that does it
well, I want to trumpet it to the sky. The Limit Club manages to make “Kick in The
Eye” their own. It’s great on the album, and even better live.
All of the tunes on “This is Cutthroat Business” will satisfy the most insatiable
psychobilly fan. My only wish is that the band would branch out a bit more and show
us more of their punk chops. These guys are really talented musicians, and they
stand out in a crowded psychobilly field. If they spread their wings a bit, perhaps
there would be no limits for The Limit Club
(Published August 2011 - DOOM! Magazine www.doom-magazine.com)
The Limit Club Release Video for "Shake"
By Niki D'Andrea
Valley rockabilly trio The Limit Club knows how to throw a party. For evidence, look
no further than the band's brand new video, for their song "Shake."
"Shake" is from The Limit Club's latest album, This Is Cutthroat Business, and the
video features the band -- vocalist and guitarist Nick Feratu, upright bassist Nicholas
David, and drummer Juan Carlos (who also plays with The Quakes) -- playing their
slick swing on the rooftop of the Clarendon Hotel, interspersed with scenes of
beautiful women holding martinis, black-and-white "morning after" snippets, and
blurry shots of someone running drunk through the streets. The party comes full circle
to the roof by the end of the video.
Check out the video for "Swing" [sic] (directed by Elijah Bustos at UCB Productions)
after the jump, and see The Limit Club live on Friday, July 8, at Ghost Lounge at
Hotel San Carlos.
(Published - PhoenixNewTimes.com June 27, 2011)
By Niki D'Andrea
Valley rockabilly trio The Limit Club knows how to throw a party. For evidence, look
no further than the band's brand new video, for their song "Shake."
"Shake" is from The Limit Club's latest album, This Is Cutthroat Business, and the
video features the band -- vocalist and guitarist Nick Feratu, upright bassist Nicholas
David, and drummer Juan Carlos (who also plays with The Quakes) -- playing their
slick swing on the rooftop of the Clarendon Hotel, interspersed with scenes of
beautiful women holding martinis, black-and-white "morning after" snippets, and
blurry shots of someone running drunk through the streets. The party comes full circle
to the roof by the end of the video.
Check out the video for "Swing" [sic] (directed by Elijah Bustos at UCB Productions)
after the jump, and see The Limit Club live on Friday, July 8, at Ghost Lounge at
Hotel San Carlos.
(Published - PhoenixNewTimes.com June 27, 2011)
THE LIMIT CLUB
‘This is a Cutthroat Business’
(Phantom Cat)
8/10
Tainted modern rockabilly in the best possible taste.
The foundations of The Limit Club are that of modernised rockabilly, double bass,
guitar and drums, but much as the genre itself has done over the years they have
absorbed and embraced plenty of outside elements. The opening track meanders
into 60’s psych territory then boots straight into what really should be a live anthem
to bring each and every house they ever play again down in the shape of ‘Shake’, a
potential classic. Most tracks on the album are out and out great rocking songs with
subtle embellishments, these dip into a goth-punk Misfit mode/ 80s vibe before you
are back in super-catchy land without really noticing the join. This could be the
sound of a band at a crossroads not sure which musical direction to go into but I’m
of the opinion it’s one that excels in and can embrace them all and proving it with
panache.
Simon Nott
(Published September 2011 - Simon Nott - www.simonnott.co.uk)
‘This is a Cutthroat Business’
(Phantom Cat)
8/10
Tainted modern rockabilly in the best possible taste.
The foundations of The Limit Club are that of modernised rockabilly, double bass,
guitar and drums, but much as the genre itself has done over the years they have
absorbed and embraced plenty of outside elements. The opening track meanders
into 60’s psych territory then boots straight into what really should be a live anthem
to bring each and every house they ever play again down in the shape of ‘Shake’, a
potential classic. Most tracks on the album are out and out great rocking songs with
subtle embellishments, these dip into a goth-punk Misfit mode/ 80s vibe before you
are back in super-catchy land without really noticing the join. This could be the
sound of a band at a crossroads not sure which musical direction to go into but I’m
of the opinion it’s one that excels in and can embrace them all and proving it with
panache.
Simon Nott
(Published September 2011 - Simon Nott - www.simonnott.co.uk)