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Thanks For Asking: Zorbas Trio

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RRX: What historical era would you like to visit if the sole purpose was to put together a Battle of the Bands? How would you set it up?
Z3- We’d probably pick the 1960s/1970s. There was so much creativity and experimentation happening in music at the time-everyone was pushing the boundaries in different directions. We’d set up a one month long Battle of the Bands festival where groups from all different music scenes had to share the same stage. This would Include great unknown bands invited to the event, with the famous people on an equal footing. There would actually be no “winners” chosen. It would mainly be a way of showcasing the “unknown” and celebrate them on the same platform as famous musicians and bands for the world to witness, live and televised. Incidentally, that’s what our song “Jack in The Box” is essentially about.
RRX: Artists, musicians, we immortalize. We set it in stone. Is there anyone who has passed that you feel you have immortalized in your work? If so, can you tell us a little about them?”
Z3- We think that deep down, music is just a soulful perspective of a time frame in the life of an artist. The message and energy may have been directly inspired by someone or something in particular, but it drew upon universal perspective that makes it relatable beyond what the creator of that art intended. For example, we wrote a song called, “Every Now And Then” about our dog “Tia after she passed away. She was a huge part of our lives growing up, so writing the song was our way of preserving those memories and processing the loss. But the soul of the song we hope, reaches people via their own personal perspective.
RRX: Let’s talk about your next project, your next few. Just not the ones you’re working on now. The ones you have your eyes on for the future. What’s coming to us?
Z3- Besides the album we’re working on now, we’d love to put out a Halloween EP. We already have a song called ‘The Halloween Song,’ so it feels like a fun project to build around. We’ve always loved spooky-season vibes, so that’s definitely on our radar.
RRX: Cover art is cool. It shows listeners what the artist thinks the album is all about. Because music can be felt visually. If you had to give the public a visual image that you think they would see and just “get” your groove right away, what would it be?
Z3- A cluttered bedroom at night with instruments, notebooks, music sketched and scribbled on paper, piles of books, half empty coffee mugs, with cables and cords everywhere. It look a bit messy, but it feels creative and alive — kind of like the natural way our music comes together.
RRX: A band is a business. A business of love, but you got to work for it. Let’s pretend, instead of a band, you all owned a business. What would it be, and why would it be good?
Z3- Honestly, having our own small art businesses ( Black Box Studio ) has been one of the biggest things that’s helped our band. We’ve learned how to market ourselves, manage money, connect with people, and stay organized from a very young age. We basically grew up at farmers’ markets, helping and selling food products and artwork alongside our parents. Those skills and experiences have carried over into our music and helped us treat the band as a business, not just a hobby.
RRX: What do you think is the most poorly understood thing about music, or the music you play?
Z3- We think that the most poorly understood thing about music is the personal artistry that musicians infuse into it. Some people definitely get it, but these days especially with social media, the majority of what people are exposed to is shock value and trends, leading to less patience and shorter attention spans. It might be getting harder for people to take the time and just meditate on the soul of a piece of music or lyrics, or poetry, or even a painting. Maybe it has always been that way somewhat, even in the past. But it has advanced very far in that direction now it seems.

BLASÉ DEBRIS Release Party at September’s Too 5/30/2026

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Photography By: Tim Reidy

Tonus Maximus
Zorbas Trio
Haunted Cat

An Xperience Article: THE RECORD FILE by Tony Mastrianni

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THE RECORD FILE by Tony Mastrianni

  SUNDAZED RECORDS AND WARNER MUSIC SHINING BRIGHTLY; THE DANDY WARHOLS IMPRESS & NO HOLDS BARRED ROCK FROM CLEOPATRA RECORDS!

The original owners of SUNDAZED RECORDS were from Coxsackie, NY, where the offices were located. The company was founded in 1989, sold in 2017, and is now part of the Exceleration family of labels. Sundazed is now based in Hillsborough, North Carolina, and they continue to reissue great vinyl records of rock, garage punk, jazz, sunshine pop, and everything weird and wonderful. The label is “Aces Up” among serious collectors, and you can purchase their product at independent record stores or search the label online and order directly.   Kudos to this superb label for re-releasing so many outstanding vinyl records and for issuing numerous new former LP titles that continue to fascinate record aficionados.

THE RUNAWAYS (self-titled) LP. Well, you read here in March about FANNY’s reissued album ‘Mother’s Pride;’ now it is time to tell you that another great 70s all-women American rock band, The Runaways, are raised again. Originally issued and out of print, Sundazed has reissued it yet again – this time on blue vinyl. Joan Jett and Cherie Currie led this hard-driven, fresh array of electrically charged, frenetic vocals.  “Cherry Bomb” literally exploded on the charts as a major single from this album. It was their first commercial hit. The girls could really kick it with their knee-high boots, slam-bam vocals, and high-energy electric guitar attack.  They captivated audiences both in their recordings and in performance.  Here, there are many great tracks. Cherie sang with power and vigor on “Secrets,” and she and Joan whispered back and forth on the final track, “Dead End Justice.”  If you listened to Joan Jett and The Blackhearts but never listened to The Runaways, you are in for some high-powered sonic boom. And, I did not get to tell you how impressive Lita Ford is on guitar. This is a five-star record throughout!  Now available in limited edition blue vinyl.

                 THE AMBOY DUKES ‘JOURNEY TO THE CENTER OF THE MIND’ LP

Ted Nugent was the center of the band, with his amazing guitar prowess, but the 1960’s band was star-studded with other talented musicians, taking us on a psychedelic journey.  Singer John Drake had a distinctive phrasing, and rhythm guitarist Steve Farmer wrote much of the material herein and played guitar adeptly.   Known for the title track single, the album is loaded with mind-bending sounds. A powerhouse of psychedelia captured in the studio.  One terrific album, from the 60’s.  Recorded with precision by producer Bob Shad. Wonderfully executed with some tinges of jazz. (Shad’s main gig was his production of jazz albums). 4 STAR LP.  Limited quantities still available.

Here are several other recommended SUNDAZED 60’s reissued LP titles that you might want to consider buying before they are sold out: 

PSYCHADELIC CLASSICS: EDENS CHILDREN  self-titled; EDENS CHILDREN ‘Sure Looks Real” w/ bonus tracks;       (The aforementioned) THE AMBOY DUKES  ‘Journey To The Center Of the Mind’ (hookah glass blue vinyl)   **early Ted Nugent’s band masterpiece; JOKER’S WILD ‘Step Outside Your Mind’ 2-LP; THE ORIENT EXPRESS self-titled (red and blue splatter color vinyl); THE SUPERFINE DANDELINE self-titled (blue vinyl); INTERNATIONAL SUBMARINE BAND ‘Safe At Home’ (featuring early Gram Parsons) in analog mono.  All these reissues were from acclaimed ’60s 

underground bands who were revolutionary in creating original psychedelic sounds. These rare commodities are now available. High-quality pressings, and they are reasonably priced. Act now, as quantities remain limited for these psych classics.  

RECORD STORE DAY (RSD) was in April.  SUNDAZED scored big once again. Try snagging these two RSD special releases: THE SQUIRREL NUT ZIPPERS ‘Roasted Right’ (expanded edition); and, DR. JOHN ‘The Brightest Smile in Town’ EP.  Both are selling out quickly. Get them while they are still some available.  You may also find these great scarce records on eBAY or DISCOGS.

 

Also, for RSD ‘A JAZZ TRIBUTE TO PAVEMENT’ (2-LP Gold colored vinyl.  This contains a great batch of jazz from Sundazed, and a “must have” for jazz collectors! Experience a unique blend of jazz and alternative rock with ‘Gold Soundz: A Jazz Tribute To Pavement’. This album features the exceptional talents of Reginald Veal, Carter James, Cyrus Chestnut, and Ali Jackson, re-interpreting classic standards. Pavement tracks in a fresh jazz style. Great for parties or serious listening alike.  Interpretations of classic jazz songs are reborn here.

And a few other titles that will appeal to collectors with limited quantities left: ‘Blonde On A Bum Trick’ soundtrack featuring Leslie West’s first band, The Vagrants; a taste of psychedelia with 60’s reissue of The Leaves ‘All The Good That’s Gathering’.   Look for more coverage of this great indie label in the coming months.

 

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              DANDY WARHOLS ‘PIN UPS’ IMPRESSIVE NEW COVERS ALBUM!

  From Beat The World/Little Cloud Records comes some British great gender defying rock music, thanks to Portland icons, The Dandy Warhols, who return with a razor new single, “LOVE SONG,” an astounding cover version of the seminal track originally written and recorded by The Damned. Taken from the band’s recently released new covers album “Love Song” captures the thrill of a band paying tribute to the song’s wiry menace and sardonic bite not by imitation, but by embodiment – recalling the original spirit of late-’70s punk through their own unmistakable lens. This is a fascinating record from what I hear on the advance music download.  It is a listener experience like no other – powerful interpretations reaching the hallmark of excellence. 

 

 

Inspired by David Bowie’s 1973 tribute record of the same name, ’Pin Ups” collects a wide-ranging, lovingly curated set of songs by artists who have shaped, challenged, and inspired the band over decades. The album – featuring covers of The Cure, Gang of Four, The Clash, Bob Dylan, The Beatles, The Cramps, The Runaways, Violent Femmes, The Byrds, and more – spans unreleased gems, deep cuts, B-sides, and contributions originally scattered across tribute compilations and international releases. The first single,” Kiss Off” (a cover of the Violent Femmes), introduced the project with Zia McCabe on lead vocals, while “Love Song” shifts the spotlight back to Courtney for swingin’ baritone energy. They pay tribute to one of their favorite bands, The Damned, in a special way. You see, decadence is nothing new to rock.  Lou Reed and The Velvet Underground invented it. Roxy Music flaunted it, and The DANDY WARHOLS keep reinventing it. The album is filled with searing guitar bites and synthesizer wizardry. Vocals are flush, and everything is well-orchestrated. This is perhaps the best indie album thus far in 2026! This top-notch array of cover songs hits on all cylinders!

The LP is truly richly sentimental, recalling some of their favorite songs, or songs by their favorite bands, or just songs they admired, arriving on the heels of a monumental run for The Dandy Warhols, including their critically acclaimed album ‘ROCKMAKER’ (2024), its reimagined companion ‘ROCK REMAKER’ (2025), and a powerful return to the stage with The Oregon Symphony, further cementing the band’s enduring creative momentum. The Dandy Warhols are Courtney Taylor-Taylor (vocals, guitar), Peter G. Holmström (guitar, keyboards), Zia McCabe (keyboard, bass, percussion), and Brent DeBoer (drums, backing vocals). FIVE STARS!

                                                                                                      —-

DEE SNIDER AND TRACII GUNS JOIN CARMINE APPICE AND CACTUS FOR “THE LITTLE RED ROOSTER” from CLEOPATRA RECORDS
– “The Little Red Rooster” is one of the all-time consummate Chicago blues numbers. Written by the great Willie Dixon in 1961, it was first recorded by Howlin’ Wolf that same year, before becoming a major US hit for Sam Cooke in 1963.  The following year, it was transformed into a worldwide mega-smash by The Rolling Stones. In fact,​“Little Red Rooster” remains the only true blues number ever to top the UK chart.

 

Now, the Rooster is back again, thanks to CLEOPATRA RECORDS, in the hands of drum legend Carmine Appice and his revitalized Cactus, although it was not hatched by Cactus alone.  Hot on the news of his retirement from live work, Dee Snider (Twisted Sister) turns in a characteristically charismatic lead vocal; Tracii Guns (LA Guns) lays down his most blues-wailing’ guitar – and there is a video, too, created and edited by Dominic Esposito/Deville Films and co-directed by Carmine himself.

                                                              —-

Also, just out from this great little label: a DEAD BOYS Two-For-One LP.  It is part of the label’s very sought-after Live Bootleg Series, titled ‘Down on The Bowery/From the Sleaziest Catacombs, ‘ you get two no-holds-barred live sets as recorded at CBGB’s in NYC in 1977 and 1978, respectively.  Each set is wild and lascivious, with Stiv Bators on vocals. His style is like Steven Tyler in the punk groove. The music is uncompromised and full of great guitar riffs and brazen vocals tied to a tight rhythm section!

KRAFTWERK  REISSUE 50TH ANNIVERSARY BUNDLE SET RELEASE ON WARNER/ PARLOPHONE RECORDS

 

To celebrate reaching its 50th Anniversary, electro pioneers Kraftwerk have announced three new editions of their landmark 1975 album ‘Radio-Activity’ released recently. Using the original 16-track master tapes, Kraftwerk founder Ralf Hütter with engineer Fritz Hilpert have created a brand-new Dolby Atmos Mix which takes Kraftwerk’s first all-electronic album and brings vivid new shading, immersive and richly layered cinematic depth to the most boldly experimental album in the Kraftwerk catalog. 

 

There are three formats of ‘Radio-Activity’ available now as follows (1) A Blu-ray audio disc featuring Dolby Atmos mix plus inner booklet housed in 50th Anniversary artwork. The Blu-ray contains the following stunning audio content: Dolby Atmos Mix; 5.1 mix (re-rendered from the Dolby Atmos Mix) Stereo Mix (24 bit) of the 2009 stereo remaster; (2) A spectacular 12″ vinyl picture disc vinyl (2009 stereo remaster), and (3) Full digital release of the Dolby Atmos mix through Apple Music, Amazon, etc. It was their first all-electronic album and brings vivid new shading, forensic detail, and richly layered cinematic depth to the most boldly experimental album in the Kraftwerk catalogue.

     The band is also embarking on a Spring/Summer worldwide European tour to promote this bundle. This is a really special bundle from one of the pioneers of synthesizer electronic music this side of Brian Eno. 

 

Also on Warner Records is the new the Black Keys highly anticipated fourteenth studio album ‘Peaches!’  The album features two power-laden songs issued on digital format prior to the physical product release. These impressive songs: “Where There’s Smoke, There’s Fire;” and the lead single “You Got To Lose” are k-i-l-l-e-r blues rock! This impressive LP is a visceral and sublimely raw 10-song collection. It is perhaps the band’s  most natural record since their 2002 debut, ‘The Big Come Up.’  The songs on the album reflect their obsessive record-collecting habit, which in recent years has escalated into an ongoing series of Record Hang DJ-set dance parties. These hangs fueled a deeper period of musical archaeology.

 

 

 

…TILL NEXT TIME

Start Making Sense & Jon Fadem at The Cohoes Music Hall 5/29/2026

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Cohoes Music Hall started making sense for dancers at the Start Making Sense as they were burning down the house on their first night in Cohoes. Jon Fadem opened the show performing his original music from his new album that has won numerous awards and accolades (and his band will be Jesse, Jon and Jenny from SMS/Ruby Dear!)
Photography By: Tim Reidy

An Xperience Article: Taste Freeze – by Art Fredette

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Taste Freeze – by Art Fredette

You see and hear it all the time. “There is no good music anymore.” “Our music was better than today’s.” “I may be old, but I saw all the great bands.” Etc. HorseSH**!

Boomers and GenX have become insufferable about this, by the way, I am early GenX, so there.  You sound like your parents or grandparents, unable to realize that things change, as does music.  Our music wasn’t better; it was ours, and we are stuck in our comfort zone. A comfort zone reinforced by tight commercial radio formats and Live Nation booking practices. And if you are GenX, let’s be honest, most of “our” music was Boomer bands that we had spoonfed to us. The Beatles, Grateful Dead, Led Zeppelin, and such were really our parents’ bands, but their generation just won’t let go. They were/are the 800-pound gorilla of what we consume and were allowed to consume.  Sure, we had the grunge thing and the MTV bands, but even that got co-opted by older-era acts, i.e., Journey, a ‘70s band.

According to Psychology Today, by 33, most people stop listening to new music, and by 40, you stop looking for new music altogether. This is called “taste freeze,” and it happens not because you are old but because older music tends to hold more memories, and as we age, we choose to search out what is comfortable as opposed to what is new or different.   Many older listeners will migrate to other genres of music like jazz or country because of the relatability factor, rather than search for completely new music. This is not an excuse, but it can be taken as a warning.

I often equate music to pizza. All pizzas have dough, sauce, cheese, etc., but the really exciting part of a pizza is the toppings.  You can choose your variation on the theme as often as you want and experience new flavors. So I ask, why would you musically confine yourself to what equates to a lifetime of pepperoni pizza? Because you have been programmed to? Because you are lazy and want familiarity?  Or because you let yourself get old? Yep, I said it.

When I was younger, a very wise man, Jim Barrett, told me to never stop searching for new music. Even if it is an older band that you never delved into, keep listening.  Great advice from my mentor. I will take things one step further: search out new sounds! Get out of your comfort zone. Explore.

The days of 1-4-5 blues-based rock are over. It is what it is, a natural progression that just happens. The younger artist isn’t bound by the conventions we have upheld, and good for them. Newer artists are grabbing pieces from different genres and styles and coming out with the music for their generation. Is all of it good? Hell no, but neither was all of “our” music. Do I have to mention Phil Collins and “Sussudio”?

So, basically what I am trying to say is get out there and listen and cut the kids a break. Your grandparents hated Elvis and Little Richard, your parents hated Nirvana, and you are acting just like them. Stop with the musical equivalent of “Get off my lawn” and being nostalgic for an era that never really happened, and explore. Use your time for discovery, and maybe, just maybe, you will be surprised.  Get past “taste freeze” and enjoy the flavor again. What do you have to lose? Nothing. And you have everything to gain …

Gallery: Slidin’ Dirty Open Mike Wednesday 5/27/2026

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Photos By: Tim Reidy
Slidin’ Dirty Open Mike Wednesday
Toolbelt Jedis, Blank Slate, Slug Chapel, Tears of Steel and more!

An Xperience Interview: Rachael Wolff (The Wolff Sisters) 

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Interview: Rachael Wolff (The Wolff Sisters) 

By: Rob Smittix

RRX: This is the first interview I’ve ever done from the New York State Museum. 

RW: Oh, you’re in a museum? Cool.

RRX: Yeah, I’m here with my grandson and it’s a beautiful day out, so…. Yeah, we’re very excited to have you come and do the Upstate Unplugged music series that we have going on with the White Lake Studios. I don’t know if you’ve ever been to one of these things but they’re pretty awesome.

RW: We have not but we’ve looked it up and it looks like a good time.

RRX: Yeah, it’s like the most personal, intimate kind of setting that you can have but also, it’s fun.

RW: Nice.

RRX: So, tell us a little bit about your group The Wolff Sisters.

RW: Wolff is our last name, wolf with two F’s and it’s myself, I’m Rachael and my two sisters… older sister Rebecca, younger sister Kat. Rebecca on acoustic guitar, I’m on electric and Kat’s on keys. We all sing and we’re real sisters. We grew up in Hyde Park, Mass and we’ve been playing together since we were kids. Our Dad is a piano player and our Mom really likes music; we had an upright piano in the living room of our house, where we would jam and write songs. We started playing out in High school and then just kept going from there. Then we added a bass and drummer in 2015. Some shows we play as a trio still, some shows we play as a full band.  But yeah, we’ve toured all over the Northeast and down to Nashville.

RRX: Well it’s so cool and it’s awesome that you are actually real sisters, I figured as much. You’ve been making music together ultimately your whole lives.

RW: Officially, officially it’s been like 10 years since we started gigging out at actual venues but we’ve been playing before that at fairs, town events and things like that; but officially I guess, you could say 10-11 years.

RRX: What would you say would be one of the highlights of being in the music business?

RW: First off, it’s just fun to be in a band with your siblings. It’s a different feeling, it feels like a family affair, it doesn’t feel like you’re working at a job or anything. But big highlights… we got to play Boston Calling a few years back, which is a huge festival and it’s sort of like a hometown show. Other cool highlights… we played at Guster on the Ocean Fest in Maine not too long ago, which is a fun one. I think 2 summers ago or maybe last summer. We just played our first show in Canada in March, so yeah… we keep spreading further and further.

RRX: Cool, you’re international now!

RW: (Laughs) Yeah.

RRX: Just like the Albany International Airport, which is a joke. They got one flight to Canada.

RW: One flight nice.

RRX: That’s all you need apparently. Well, that’s cool. We’re very much looking forward to this event and like I said, it’s the coolest, you’ll be in there and everybody’s in there with you. Last time I was there they had candles lit, it’s quite the set up. It’s June 25th, I believe, off the top of my head. It’s the last Thursday of the month. and uh. What are we to expect, do you have anything special in store for us?

RW: So we’re doing it as a trio and those shows are special because they’re very much about the harmonies. So like… three part sibling harmonies. It’s obviously louder and a little bit more shreddy on solos, organ solos and guitar solos but this one is very much about harmonies. So that’s really fun.

RRX: I’ve been checking your stuff out. I’m an instant fan.

RW: Oh, thank you so much.

RRX: Absolutely. Well, I don’t wanna take up too much of your time but I wanted to make sure if there was anything that you wanted to say to encourage people to come out? Because there’s very limited tickets available for this. We do expect to sell out. 

RW: If you wanna see a sort of a genre-bending Americana, rock and roll band with sibling harmonies, come on out to the show!

RRX: Couldn’t have said it better. Well, Rachel, I appreciate your time and I will see you aoon.

RW: Thank you so much, Rob.

Thursday June 25th @ 7:30 pm Upstate Unplugged Presents: Wolff Sisters Get Your tickets HERE: whitelakestudios.com

An Xperience Interview: Luke Abbey Drummer of Gorilla Biscuits

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Interview: Luke Abbey (Gorilla Biscuits)

By: OP Callaghan 

Gorilla Biscuits are an American hardcore band hailing from Queens, N.Y. Formed in 1986, the band is part of the youth crew straight edge wave of New York hardcore.  Their first full-length album, “Start Today,”  is still one of the biggest-selling records ever for Revelation Records and still stands as one of the most influential albums of the genre.  Gorilla Biscuits’ live shows were always an energized call for unity and strength in the scene, and their recent show at Empire Live was no exception. 

Singer Anthony “Civ” Civorelli, guitarists Walter Schreifels and Charlie Garriga, bassist Arthur Meow Smilios, and drummer Luke Abbey are a well-oiled machine.  Drawing from albums released over 35 years ago, the band still sounds somehow fresh and relevant.  Having not seen them since the early 1990’s, I was thrilled to see the band still delivering hard-hitting anthems and sing-alongs with a controlled frenzy reminiscent of old New York Hardcore.  Singer Civ ripping through his vocal parts like an angry teenager, tossing the mic to the crowd for choruses, and simply clapping his hands twice to have his microphone miraculously return to the stage, shows the level of controlled chaos that is Gorilla Biscuits.  The rest of the band was all business and all smiles behind their instruments, conveying an infectious energy that was palpable from the start of their set to the last song.  These guys truly define hardcore, and we are all lucky to have them.  

As if this wasn’t enough, Civ then wished a happy birthday to one of the architects of the Albany hardcore scene, Mr. Dave Stein, who began Futile Effort Productions and put Albany and its hardcore scene on the map.  Dave, who passed away in August of 2023 after a lifelong battle with cancer, was a promoter of all things hardcore, vegan, and straight edge.  Dave, along with Steve Reddy of Equal Vision Records, started the Albany hardcore scene, bringing bands in from all over the United States, and making it a “must-play” city to this day.

Holding down the rhythm of Gorilla Biscuits is drummer Luke Abbey.  I first met Luke when we were both teenagers, and he had just joined Youth Of Today.  Luke has been playing in hardcore bands since the age of 14, including stints with the aforementioned Youth Of Today, Warzone, and Side By Side. Luke is a killer player with an impressive resume.  So please welcome Luke Abbey of Gorilla Biscuits!

RRX:  Luke!  Great to see you!   How did you get started being a drummer?

Luke Abbey:  (I was) just into music as a kid. Friends played, and one of their fathers was a drummer. After hitting drums the first time, I was very into it and wanted to play. 

RRX: Do you come from a musical family?

LA: I don’t. Lotta listeners but pretty much zero players. 

RRX: Do you play any other instruments? 

LA: I can get around on a bass and keyboard, but primarily for writing/learning purposes. I’ve filled in on bass before, but I’m by no means a bassist. 

RRX: Are you self-taught, or did you take lessons?

LA:  About 99% self-taught. Had a music theory class one semester in school and took a few percussion lessons about 30 years ago. Otherwise, everything has been done through my own efforts. 

RRX: Tell me about your first kit.

LA: Simple Pearl Export. 4-piece kit with kick, snare, and two racks. My father bought it for me when I was around 11 or 12 and didn’t know much about what he was getting. Borrowed a floor tom for the first three or four years playing. 

RRX:  What are you playing now? 

LA:  I play drums made by a company called SJC Drums. Have been the past 20 years, actually. Began as a small custom thing started by two brothers, which grew pretty significantly over the past several years. Good drums, solid people, and I’ve been happy with the sound and quality. 

RRX:  They sound great!   Tell me about some of the work you’ve done with other artists, bands, etc.

LA:  Mostly hardcore and heavier stuff. Gorilla Biscuits has always been the biggest-name band I’ve done, but there’ve been tons. Lotta other less aggressive stuff as well, which hasn’t always seen much exposure on a large scale. 

RRX: Who are some of your influences?  Has that changed since you started playing?

LA:  It’s a fluid bunch of musicians and non-musicians alike. Often depending on current situations and daily life. Some guys like Clyde Stubblefield and Mackie Jayson and John Bonham are always in my head, but there are so many that come and go. 

RRX:  Tell me about a performance or recording that you are especially proud of.

LA: The Warzone LP “Don’t Forget the Struggle, Don’t Forget the Streets” was done live when I was 15 and still gets me how tight I sounded at that age. 

RRX:  It’s a great record.  I love the stuff you did with Youth of Today, too.   What are your future plans?  What’s the plan after this tour?

LA: Future plans are open. Would like to play more on a consistent and professional level. We (Gorilla Biscuits) have shows booked into June of this year, then will be quiet until 2027. 

RRX:  What is something that you’re passionate about outside of hardcore?

LA: Getting on trails and going!

RRX:  Thanks for being here, Luke, and for the incredible playing!

Check out Gorilla Biscuits today.  You won’t be sorry!

 

Master Boot Record: Queens Could Not ESC Computer and Video Game Metal  

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Master Boot Record: Queens Could Not ESC Computer and Video Game Metal  

By Justin Smulison

My time at the TV Eye in Ridgewood on May 30 kicked off a bunch of firsts for me. This was my maiden voyage from the ‘burbs to this small Queens venue, where I was looking forward to seeing one of my favorite instrumental groups, Master Boot Record, who perform what they have dubbed “computer metal.” This was originally slated to be the Italian trio’s final show of their North American tour, but just a day or two prior, they added one more date on May 31 at the Meadows in Brooklyn to be able to perform in front of a grandiose cathode ray tube wall. 

The TV Eye has the hallmarks of many smaller clubs in the boroughs – sort of a dive bar in the front with a stage and performance space in the back, a small kitchen window to its left across from the merch table. 

Arottenbit opened the show. He is a one-man project from Milan, Italy whose instrument is a souped-up 1989 Nintendo Game Boy salvaged from the trash. With wiring around it and attached to some sort of transponder, it looked more like a detonator and perhaps was done so to make you feel slightly uneasy. That gear description is another first for me. Adorning a black face cloth and stationed in front of a plastic black-lit garbage can, this performer, also known as Otto, thrashed about the stage to his brand of what can best be described as 8-bit Sludge Techno (which is yet another first). This ambitious approach to a very niche subgenre within noise metal is created without the guitars and drums and instead relies on bit-crushed distortion, glitchy white noise, and heavy square waves. 

Since his only instrument was the Gameboy, he made it a point to come into the crowd of at least 200 to rile them up, get them to mosh, run, stage dive and jump. Check out his track, “LSDJ,” for an idea of how Arottenbit can create a headache-inducing rave. It’s the sort of cacophony that I imagine a gamer hears (internally) before frustration takes hold and manifests into a screaming frenzy because of an impossible-to-beat “Mega Man” level.  And in yet another in a series of firsts, Otto even sent his hopefully clean (?)  trash can into the audience to be passed around. For a guy without a typical instrument, he seemed focused on engaging with the crowd and playing up the novelty of his presentation. Arottenbit also seemed genuinely thrilled to be in New York for what appeared to be a successful run of shows. 

Otto, as it turned out, was a sound engineer for the headliner, Master Boot Record. (You can find my 2025 interview with MBR founder Victor Love on No MSG TV.)

The Italy-based band is purely instrumental, featuring various layers of synth over shredding guitars and drums and they have forged a new level of success through their most recent LPs, 2024’s Hardwarez, and 2022’s Personal Computer, and 2020’s Floppy Disk Overdrive all released by Metal Blade Records. You can find an entire terabyte’s-worth of their back catalogue for free on Bandcamp.  

 

The trio is rounded out by guitar virtuoso Edoardo Taddei on lead guitars and technical death metal drummer Giulio Galati, who all play before a wall of stunning retro-visuals in a journey intodemoscene, crack scene, and retrogaming, and beside what looks to be a computer lab that could’ve been built in the 1990s. 

 

Victor plays rhythm guitar and keyboard – which is an actual keyboard to an obsolete computer (another first for me) while Taddei shreds the leads in a style that is reminiscent of the neo-classical style of Yngwie Malmsteen and some of the whimsy of Joe Satriani. The band played a 15-song set, highlighted by four tracks off Hardwarez – including “RAM” and “CPU,” – and a cover of the “Doom” video game theme. 

 

MBR may not be mainstream metal, but it is undoubtedly more digestible than Arottenbit in that there are lead melodies and more recognizable patterns in the music. Even with programming in backing tracks, the musicianship was astounding and the band delivered a stellar set. 

 

I was stationed to the left, coincidentally where Victor – adorned in his trademark black hoodie – was positioned between his keyboard and the audience, which was fully engaged. During a brief downtime for at least one of his instruments/responsibilities, I noticed he pressed a button on a dot matrix printer (another first) while in the lab. The pages, it turned out, were the unique free passes he was giving away to the next day’s show in Brooklyn and threw them out to the crowd toward the end of the set. This kept with his reputation of making music free to the masses (he may have also needed to incentivize the audience to fill the space, considering how late he added the Meadows date).  

 

In a show where I did not chant along to one lyric (due to the absence of the lyrics), the creativity, musicianship and entertainment value was off the charts. If their YouTube numbers are an indication, Master Boot Record has subtly tapped into a broader metal audience and, considering their modest musical setup (the TVs seem like a heavier lift) they might be one of the few foreign bands to continue playing North American venues. Hopefully, they can transmit live from upstate NY next time in the U.S. If not, it will be worth the local RadioRadioX audience to make a southbound trip to the boroughs to experience Master Boot Record.