William Control

William Control

Davey Suicide

Davey Suicide is ready to set the world ablaze. On his self-titled debut album, the Los Angeles insurgent injects gutter grit back into rock 'n' roll. It's been far too long since a rebel raged through town with distortion blaring, middle fingers in the air, girls dropping their panties, and flames everywhere. Flanked by bandmates Frankie Sil [Bass], Drayven Davidson [Drums], Needlz [Keyboards], and Ashes [Guitar], he distills heavy metal, industrial, and punk into anthems that are as corrosive as they are catchy. Whether or not you're prepared, Suicide has arrived.

As a kid, he always knew the "safe" life wasn't for him. In order to tune out the fights of a broken home and the pressures of church, he'd crank Guns N' Roses, Pantera, and Metallica on his stereo and play guitar as loud as his small Peavey amp would allow.

Music kept him away from drugs and other trouble, and his three patron saints became Axl Rose, Marilyn Manson, and Eminem. Beyond adorning his arm within a tattoo tapestry, he learned one important thing from these icons that eventually inspired him to move from the East Coast to Hollywood.

"It's important to pave your own road," declares Suicide. "I hit a ceiling. I had some opportunities that slipped away, and I woke up one day with the idea of 'Davey Suicide'. I needed a constant reminder that we're all in the driver's seat. If I give up on myself, shit's not going to go the way I want it to. I'd rather live by my rules than feel like I'm stuck inside a box. It's about believing in yourself. Put your trust in Suicide."

You can begin with the fourteen songs on the album. The first single "Generation Fuck Star" thrashes with intense industrialized guitar and an arena-ready hook. With a music video concept penned by Suicide himself, "Generation Fuck Star" is an unforgettable calling card both sonically and visually.

"It sets the tone," he affirms. "It represents leaving all of your baggage behind. I'm breaking free from all of the things that have plagued me for years and becoming comfortable in my skin. It speaks to kids who have grown up in fucked up situations. So much watered down bullshit is forced upon the masses. People like the Kardashians get super famous for being talentless. I want to break that mold. We live all of this. This isn't a costume."

What you see is what you get, and Suicide isn't pulling any punches. Targeting hypocrisy, his unbridled honesty courses through the synth snarl of "Sick Suicide" and the stomping riff bitchslap of "Grab a Gun & Hide Your Morals."

He sighs, "A lot of people choose to be religious because they're scared of going to Hell. Do something because you mean it not because you're afraid of the consequences. The thought might be villainous or shocking to what the social standard is. I'm not saying anything untrue though. If people want to believe the façade, I'm going to expose it."

He also deliberately leaves no emotion untouched. Tracks like "Hustler Queen" and "Uncross Your Legs" ooze a dirty charm, while "I'll Take a Bullet for You" is a mournful addiction elegy carried by a faint acoustic melody.

On stage, it comes together with a brutal bombast. For Suicide, the show is paramount. "We've assembled five guys who are essentially frontmen in their own right," he adds. "I wanted to have all of the bullets in the chamber and fire them off at once. That's what we're about to do."

That blast is going to leave a big mark, and things may never be the same. Welcome to generation fuck star, and say hello to your new leader, Davey Suicide. — Rick Florino, April 2012

Fearless Vampire Killers

Come to our about page have you? Hmm… We didn’t think that many people would stumble across this, and if they did we assumed they might already know something about us so we were struggling to work out what to put here. Most bands will have something of a press release spiel in the form of an exaggerated list of achievements, bands they have performed with, and then some weird description of their music that doesn’t really make any sense. What does “soaring guitars” even mean? That they fly?

So what we thought we’d do is be honest about what we are and what we’re looking to achieve. We’re a rock band living in a cramped two-bedroom flat in London, UK. We originate from somewhere called the Waveney Valley which forms the border between the counties of Norfolk and Suffolk, and it was there that we started playing in bands together, playing anywhere that would have us and often ending up in old sports halls or the sides of lorries at town fairs. After 3 years, morphing in and out of various incarnations of bands, we realised that: 1. Most of the industry didn’t know where our hometown Beccles was and 2. Even if they did they wouldn’t consider signing a bunch of teenagers with a fan base that they could count on their toes. So after much consideration and amongst a hell-of-a-load-of emotional obstacles, we moved to London with only the kindness of strangers and some family to rely on and for about a year we barely played a show.

In late 2008 everything came together and we named ourselves Fearless Vampire Killers, we wanted it to be a name that carried a load of baggage, like a badge of honour but also something that we’d need to prove. It came from a film we’d grown up watching, and it fit with everything we stood for; fighting back against oppressors of any sort and making something of yourself. Rising above the ones that did you harm. As individuals we really weren’t that good at life, but together we knew that with enough work, we could make something incredible. With that we set to work creating a concept that our songs and our image could fit within: An idea we named Grandomina, something of an idealised image of what the world could be, though still with its fair share of flaws and vice. The songs we write therefore can be taken in anyway the listener wants – the lyrics are metaphorical, and though they may reference the concept, we wanted them to be honest and emotional: Songs that people could relate to and maybe even songs that would help people through hard times.

So yeah, we’re Fearless Vampire Killers, we do what we want and we couldn’t care less how much people get niggled by our make up or weirded out by what we’re singing about. We’re freaks, and if you’ve come to this page then you probably are a bit too. Now let’s get together and gear up. We’re here to set hearts alight and tell the Heartataks where to stick it.

The Relapse Symphony

True rock n’ roll is about reckless abandonment, willfully taking chances and going against the grain with a freewheeling spirit and boisterous attitude. Danger, energy and inspiration coalesce with dramatic orchestral structure in The Relapse Symphony, who’ve blazed a trail of broken hearts and blissful devastation in a short amount of time and equally evokes the glory of rock’s most fun era and a postmodern future.
The Relapse Symphony combine the bombastic, emotive theatrics of My Chemical Romance, the unstoppably melodic but jagged punk hooks of Green Day and the forceful, confident and party-going atmosphere of Skid Row in a way that’s fresh and original. They’ve taken these components and structured a sound that sounds as vital today as “Youth Gone Wild” back in the day. It’s the sound of the greatest bands of yesterday colliding with the anxiousness of today. The Relapse Symphony is combustible and ready to ignite across the globe.
Bret Von Dehl is a frontman straight from the ‘80s but with the new millennium’s prowess, power and sensibility. Guitarists Alex Foxx and JC Charles blend shredding virtuosity with a keen sense of melody ably backed by the rhythmic pulse of fluid bass player Brandon Kyle and powerhouse drummer Tyler Gloyd. The band is staunchly self-aware and meticulous about what they are putting forward, but filled with rock’s unpredictable nature. The Relapse Symphony represent structured chaos, or as JC puts it, “What a good rock band should be.”
The Relapse Symphony may have originated from Washington DC but their style, image, sound and attitude are straight from the Sunset Strip in its debaucheries-filled heyday. The five-song Time’s Running Out EP announced their arrival to the world with passion and intensity, issuing a warning to pretenders that The Relapse Symphony means business. This is no fly-by-night outfit. This is the real rock n’ roll deal.
Even an emerging, burgeoning success isn’t without its pitfalls. Not long after Standby Records signed the band, some personal relationships started to change for The Relapse Symphony. “A lot of people that we thought were friends started to act differently,” laments JC. The band wrote “Burning Bridges” about this situation. “It was also a point during our recording process where we threw the rulebook out the window and decided to really take some chances.”
“Forgotten” is the band’s response to the powerful interactions they’ve had with their fans. “Often our fans tells us that our music has helped them through hard times,” JC says. “We hear that a lot and we don't take it for granted. We were also those kids getting bullied and feeling like outcasts in school growing up. We would turn to our favorite records and shows to help get us through. To know that I can be even a small part of that for someone else makes everything we have done worthwhile.” At the end of the day, The Relapse Symphony wants their fans to know they are not alone and that things can and will get better.
Nostalgia takes center stage in “Make Your Move,” which reflects on past mistakes with an unapologetic candidness. “Writing that song was a little scary for me because of how honest it was,” JC reveals. But he knew their fans would approach the straightforward approach.
“Panic! (Time’s Running Out)” is already a standout within the band. It’s about being a part of something that is no longer going where you want it to and the inner struggle one feels trying to decide where to go next. Sonically, it brings together all of the band’s musical elements.
The Relapse Symphony stand in opposition to trends, to taking the easy path to success. They aren’t trying to be part of any “scene” or subgenre. They don’t want to be known as something they are not. The Relapse Symphony represents controlled chaos, indeed: the combination of determined force of will and unbridled passionate energy. To support The Relapse Symphony is to support an exuberance for life, to join in a movement of sorts about expression and fresh ideas.
In other words, The Relapse Symphony is what rock is all about!

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