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Band of the Month: The Schizophonics

In this day and age, it’s becoming harder and harder for bands to stand out and do something new, as most things have been done before and been done good. If you give The Schizophonics a listen, it wont take you long to hear they’re a 60’s garage rock ’n’ roll band. You can draw comparisons to bands and artists such as The Sonics and MC5, but there’s also something there you cant put your finger on, and that’s authenticity and originality. The Schizophonics is the kinda band you’d find in a dingy dive bar basement in New York in the late sixties, or the band that would take 60’s London by storm and set fire to Dingwalls – except for the fact that they’re not actually a hidden gem from the late sixties at all, but a current band based in San Diego. The dynamic duo consisting of Pat (vocals and guitar) and Lety Beers (drums) are known for their highly energetic and frantic live shows where they various friends join them on bass.

Now, it’s easy to leave it with that, that their shows are ‘energetic and frantic’, but they take it so much further than that. Frontman Pat takes his showmanship duties to the next level as he struts and dances around on stage, does the splits and occasional backwards roly poly, all while singing and playing guitar to Lety’s tight drumming – imagine all of MC5, Iggy Pop and James Brown morphed into one, and you’re getting there.

Since the formation of The Schizophonics in 2009, the band have toured relentlessly up and down the West Coast, as well as building up quite the reputation as one of the best live bands in San Diego. As we speak, the band is currently taking a break from the Californian sunshine and gracing the UK with their presence as they are touring and opening up for fellow San Diegans ‘Rocket From The Crypt’, leaving them quite big shoes to fill. This Friday, they’ll be playing London’s Electric Ballroom, and we cant wait to see them tear the place to pieces!

We’ll be having a chat to the two during their UK stay, so watch this space to hear what they’ve got to say!

All photos via The Schizophonics’ website.

The Schizophonics on: Facebook & Instagram 

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Interview: Hanni El Khatib

Before his show at London’s Village Underground, we sat down with multi-instrumentalist Hanni El Khatib to have a quick chat about his latest album ‘Savage Times’, and his new approach to recording and creating.

You released your latest album ‘Savage Times’ earlier this year, and it’s pretty easy to say it’s very different from your previous ones, but then again, all your other ones have been different from the ones before. What stands out about this one though, is that you’ve covered a lot of ground, and it’s different to pin it down under one genre or category as one song is so different from the next one. In many ways, it sounds like a greatest hits compilation, besides the fact that all the songs were new and have never appeared on an album before.
HEK: Well it was kind of recorded and released that way as well. My whole plan was to release music as quickly as possible after I’d recorded it. Essentially, every two or three weeks I’d put out a song, and at the end of each month or whatever I’d collect them and release them as an EP. I did that about every month, month and a half, for eight months, before releasing it all in a box set with 10 inches, which ended up being the ‘Savage Times’ collection. I never wanted to release it as a collected set, that was more the industry way of making sense of it. I didn’t want to do an album as I’m kind of sick of the traditional way of making and releasing music, the whole circle of pretty much having to release an album before going on tour. Press found it hard promoting the idea of this tour if there wasn’t an actual album to promote with it. I just wanted to release EP’s until I felt I was done. In many ways I don’t look at ‘Savage Times’ as an album, as it was never recorded that way. It’s just a compilation of songs I recorded over the course of a year.

As I mentioned before, you covered a lot of ground with this album, compilation or whatever we should call it, as there’s some classic garage rock n roll songs, some funk on there, and some more poppy songs – is this a result of a wide spectre of influences?
HEK: I listen to pretty much everything, and it changes every day. I tend to make a lot of playlists for myself, which sort of reflects why I made the record the way I did. It was also a result of me wanting to see if I was able to record and make the sort of music I was feeling that day. I didn’t even write all of it before going into the studio. I’d book the studio for three days at a time, sometimes with space in between, just so I would never have the same set up. Every day I’d start a new song, and I’d have to start from scratch. It wasn’t very efficient, but I didn’t want it to be efficient. I wanted to let the day dictate the song. I’m a partner in my record label in America, so there wasn’t really anyone that could tell me I couldn’t do it that way anyway – although I wish sometimes people would; “Alright dude, this is a bad idea…” I have to monitor myself, and for me, creatively, it did what I wanted it to do, and I don’t really care too much about the results.

It’s cool though when you listen through it as you never know what’ll come next, also the fact that you’ve already changed and developed so much between your former records, then you release this and manage to surprise us yet again.
HEK: I’m not quite done yet either, we recorded something in the hotel room and I’d like to put that out while we’re still on tour. We’ve done some alternate versions of some of the songs as well. I did a music video for ‘Paralyzed’ where there’s a woman performing as me, and through that, we found out she could actually sing, so we re-recorded the song with her on vocals, and rearranged the music and brought in a string section, all with her vocals. I feel like this is just a good time to experiment and do what you want. I’m comfortable with where I’m at, and I’m ok to take a risk by myself and do stuff like this, cause whatever happens, happens. If you think about the outcome too much, it fucks up the real purposes of why you’re doing things.

When you do record the way you do, do you play all instruments yourself, or do you let other people get involved?
HEK: It really depends, for the most part I’ll do it myself, or this guy Johnny who plays bass, he’s on the road with us now. He’s an engineer and he’s got a studio in Long Beach, and through the way I was recording it quickly turned from engineer to co-producer – and player. I’ve been making music with Johnny for a long time, so we work really well together.

So it’s not like you need to maintain creative control over every aspect of it?
HEK: No, I kind of relinquished that because to me, doing that and being stubborn like I was on my third record slowed down the creative process. Especially since I wanted this to be done so quickly, it’s good to have a second pair of hands or an extra opinion to get things done. I like this way of recording, and I’ll continue to do so until I’m ready for another album.

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New Music: LYZA – ‘Easy ft. Bisk’

At The Great Frog, we highly encourage any sort of creative outlet whether it’s jewellery, music, painting or whatever else might float your boat. Here’s our very own Lyza Jane who’s just released her latest single ‘Easy’ from her upcoming EP ‘Nobody but you’. With the majority of her childhood spent touring and on the road, music was always a big part of Lyza’s life she fell into songwriting and music production at an early age.

Can you tell us a bit about your background in music, and what kickstarted the interest in the first place?
Lyza: Luckily I had a really musical upbringing. My stepdad was an incredible musician and both my parents had impeccable taste in tunes. Getting to spend a lot of time on tour as a kid, I knew I just wanted to hang out in studios and be around music. It took me a while figure out what it was I wanted to create. My main influence is probably Tricky, his songwriting, production and outlook on music is what I think I reflect most on. His album ‘Maxinquaye’ is what got me into producing, but I mainly listen to reggae, West coast Hop-Hip and what my friends are making to be honest, so I draw influence from everywhere. In my last single I used a Black Sabbath, sample so theres really no music I dont learn from.

When did you start making your own music?
Lyza: I was a backing siger in the band ‘Alabama 3’ from the age of 17 but wasn’t until I was about 19 that i started learning to use software. I just came to the conclusion that you can’t expect people to hear what you do in your own head.. you just have to make it yourself!

How do you work with other rappers and producers? Do you tend to keep most of the creative control yourself?
Lyza: I like to think i keep total control over everything, haha. I’m unsigned and make most of my own music, but since working with other musicians and producers like Formz and being introduced to the Blah records family I’ve learnt that the best stuff comes from good vibes and late nights. I’ve been lucky enough to get some really talented rappers on this next project so can’t wait to share it. I still like to make beats on my own though and i often record alone if its for my own stuff.

Can you tell a bit about your latest single and upcoming EP?
Lyza: It’s actually something i made a little while ago when i first moved into my place in Acton. It’s such a great creative space and i’d just started working with a pianist called Jack. I made a few beats with Formz and we just thought the vibe was really cool and different. The beautiful sax is played by Taurean who plays with Rudimental, he’s on a lot of the upcoming EP ‘Nobody But You’ which I’m psyched about as there’s few things I like more than saxophone. The EP’s out November 30th and will also be available on vinyl.

Find the latest single ‘Easy’ ft. Bisk on iTunes here.

Lyza on Facebook
Lyza on Instagram
Lyza on Soundcloud

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Do you want to be featured?

We at The Great Frog owe a lot to music.

Since opening our doors in the early 1970’s, we have been supported by musicians who have gone on to be some of the biggest acts in the world such as Lemmy from Motorhead, Biff from Saxon, Bruce Dickinson from Iron Maiden and Neil Peart from Rush (who even worked for us for a short time.) When these bands first started out it was a struggle touring, financing gigs, getting equipment and spending enough time from their jobs to rehearse. As a small family business we understand that struggle as we too started with very little money. It was hard just to keep the bailiffs from the door.

As with many bands of that era we have found an element of success, but it’s not taken for granted and it hasn’t been an easy ride. Now that we are in a more privileged position we would like to give what we can back to the music industry that has supported us through the years. As well as sponsoring music festivals and events, we hope to be able to help aspiring artists, musicians and bands by offering sponsorship and promotion via this music site, various social media channels and by playing it in our stores.

Photos by Emily Power – from various nights at The Jonesing Jams, a live music concept in London we’ve been promoting.

To be featured, send over some music to music@thegreatfroglondon.com, with a little information about yourself or band, some content and your contact details.

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Playlist: Hair of the Dog

October’s band of the month ‘Hair of the Dog’ have put together a playlist with some of their favourite songs – on it you can find bands and artists from Kvelertak, Black Sabbath and Uncle Acid and the Deadbeats, to Jeff Buckley, Elder and Jimi Hendrix. They’ve really covered a lot of ground with this one, so crank up your speakers and give it a go!

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Band of the Month: Hair of the Dog

October’s band of the month hails from Edinburgh in the form of 70’s inspired three piece Hair of the Dog, who’s name which was picked as “a nod to Scottish classic rock band, Nazareth and a cheeky wink to the trio’s indulgent drinking habits.” The band, consisting of brothers Adam and Jon Holt on vocals/guitar and drums and Iain Thomson on bass originally started playing together in high school before going their separate ways, and into adulthood. A few years later, they all found themselves in the same city and decided to get the ball properly rolling with the band. We had a chat to singer and guitarist Adam to find out a bit more about them and their influences.

Hair of the Dog, how did it all begin?
Jon and I are brothers and were brought up on a healthy diet of good music and encouraged to take up an instrument from a very early age. I’d humph my amp and guitar through to Jon’s room where his drum kit was, and we’d just jam shit all the time – Hendrix, Zeppelin and Rage Against the Machine, whatever I was being taught by my guitar teacher. When I eventually started high school, I met Iain who caught my eye in a music class playing some phenomenal bass. We jammed a little in this music class every week and it was instantly clear we had a very strong musical connection, so I invited him to join me and Jon for a jam and the rest as they say was history – we’ve been playing together ever since.

You mention being encouraged to take up music from an early age,  do you come from a musical home?
Yeah we do, our Grandpa was a Jazz musician and was very encouraging of Jons drumming and my guitar playing, he’d always like to hear a few tunes when we visited. Our Dad obviously picked up from this and he plays guitar, is a great clarinet player and has a good voice on him too. His little brother, who Jon and I really looked up to as the “cool uncle” was an 80’s teenager and really got into making electronic music with synthesizers, and Jon and I loved this! We always wanted to go up to his room and play video games and listen to his music. So yeah, we were surrounded by good music, lots of instruments and we had a lot of support and encouragement behind us. It’s the same story with Iain, his mum is a professional percussionist and plays in orchestras, his parents also have a room filled with every instrument you can imagine, plus they have a badass record collection.

You’re clearly heavily influenced by the 70s, a decade it seems that none of us can let go off – what do you think it is about that 70s sound that bands, artists and listeners are still so drawn to today, decades later?
Well I guess it’s because that was “the time” really for great rock’n’roll, the great Gods of rock and the birth of Heavy Metal – what’s not to like?! When asked to picture a “rockstar” in your head, the mind doesn’t go to Dave Grohls, Josh Homme or Marilyn Manson, it sees Robert Plant, Ozzy Osbourne, David Bowie, Jimi Hendrix – the list goes on. These guys were and still are a species of their own. They were the originators. They broke the mould and since them, the world has stopped creating icons like them. It was a wonderful time for rock music, so it’s natural for fans of rock and heavy metal to always find their way back to their roots, place those rose tinted glasses on and try recapture some of that energy. What we do, we take all that love for the riff, the groove, the vibe and then we crank it up a bit, adding a slightly more modern heavier edge to our sound, which is influenced by our love for metal.

You’ve released a self titled EP and two full length albums, the latest one being ‘This World Turns’ which was released in July – how has the journey been so far?
The journey of this band has been amazing, and the only words we can use to describe that are “natural and organic”. I’ve been in bands where they were run like businesses. Yes, the music was the driving force, but there was an agenda and set goal – and when things don’t go to plan or you get so close to that goal but it doesn’t bloom, then that can be soul destroying. With Hair of the Dog it has always been about the music and the fun of playing and creating that music. When those two elements no longer exist and the band feels like a chore, then we will call it a day. We recorded that first EP for ourselves, we didn’t intend to release it, it was for us to show our friends and family and to look back on and at least have something to show for the years and years of friendship and time spent jamming. But when we showed people and they said “shit guys, you have to put this out” we were like, ok might as well…. Then it blew up and we started getting all these mad reviews and interview requests and labels started contacting us. It’s been like that ever since. Nothing has ever been pushed, or forced. We aim to write a new record every year, we do the gigs we want to do, we try our best to play to all our fans and we take time to speak and respond to all our fans all over the world – there is not much more to it.

We may never be the band that tours constantly and has a huge following and fame, but our fans are extremely loyal and there is a cool, somewhat romantic aspect to being a cult-band.

Can you tell us more about your label Kozmik Artifactz and why you ended up signing with them?
We weren’t desperately looking for a label, because we had only just put out an EP on Bandcamp, and we were still pretty stoked on the fact that people were even buying it, but when a well-respected, infamous label like Kozmik Artifactz offer you a deal to be released on high quality vinyl, then it’s a no brainer. For me, the biggest turn on for signing with Kozmik, was because Kai and his team are fucking music gurus. He genuinely loves rock’n’roll and heavy music. You can tell its passion first and business second with Kozmik and that was extremely appealing.

How do you work as a band, do you jam, gig, practice and write regularly?
Well as I touched upon, we don’t push or force anything. We jam every week, perhaps working towards a gig or writing new songs, or escaping life to simply have a beer and hang out with instruments involved. As we’re a jam band, we write pretty much all there time, it only takes one good riff and 20 minutes of jamming and we can have a full song written.

Last but not least – ‘Hair of the Dog’ – what’s the best way to cure a hangover?
Oh man, my hangovers are brutal these days. I do love to drink and drink hard, but fuck me I need to take like a whole week off to recover, that or just get back on it – so I suppose that is the only tried and tested method for an instant cure, is just to keep rockin! Up in Scotland we’ve got Irn Bru and it’s well known to cure hangovers – maybe pop some whisky in there too? A couple of those will sort you out.

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Social Media links:

Facebook –Bandcamp – Spotify – iTunes – Label 

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Competition: Win Hanni El Khatib Album + Tickets

San Francisco based multi-instrumentalist Hanni El Khatib is touring the UK following the release of his latest album ‘Savage Times’ and will be playing a headline show at London’s Village Underground Monday 2nd of October. For a chance to win two tickets to the show and a copy of ‘Savage Times’, all you have to do is head over to The Great Frog Music Instagram and like this photo, and post a comment saying who you’d want to bring along. Competition ends Friday 29th of October.

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Band of the Month: Derelics

Band of the month for September is London based three piece Derelics, our local trippy hippie stoner psychedelic funk band.

Since the birth of Derelics at the age of time, the band’s sound has changed drastically from a heavy stoner and almost sped up doom kinda vibe to heavy psychedelic funk, which might have something to do with the fact that the band’s gone through as much as six bassists. While frontman Reno Lee Roth and drummer Rich Noakes has been constant since day one, they’ve changed bassists on a regular basis – maybe the funk got the best of them. The latest addition to the Derelics family is Josh ‘Jacket-attack’ Burgua, formerly of London doom band Sonic Mass. Before him, bassists such as Chubby Thunderous Bad Kush Masters‘ Will Hart and RIDDLES‘ Thom Carter had a go in the band before venturing off onto new adventures.

Derelics, July 2017: From left to right; Frontman and guitarist Reno Lee Roth, bassist Josh ‘Jacket-Attack’ Burgua and drummer Rich Noakes.

The band’s been working on the release of their next EP ‘Guilty of Being Young’ for quite some time, and have finally announced that the launch will take place outside in the Hackney Wick woods on the 30th of September. Fueled by generators to keep them going, they will be joined by Fear of Fluffing and long time gigging buddies GNOB.

‘To Brunhilde’ off debut EP ‘Introducing Derelics’

‘The Wicked Witch is Dead’ off the upcoming ‘Guilty of Being Young’ EP.

You hear clear changes from the first EP to the second one, and with ‘Guilty of Being Young’ being recorded in 2015 with Thom Carter on bass, the band’s sound’s changed yet again over the last couple of months with Josh ‘Jacket-Attack’ joining the band, and it seems like Derelics may have finally found the one.

The exact location of the launch will be revealed on the day, but as it’s outside we’ll suggest packing your sunglasses, wellies, umbrella, shorts and beanie (cause you never know what the London weather will throw at you) and get ready for a night you’ll never remember.

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The Great Frog at Bloodstock

After a years hiatus and no Bloodstock for us in 2016, we returned full force for this years festival, taking our mobile workshop to cater for a bunch of happy campers. We had on site jewellers offering same day sizings and repairs, before later on venturing off into the night to enjoy the music, bumper cars and quite likely, one pint too many.

 

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Interview: King Buffalo

As King Buffalo announced their first ever UK tour alongside heavy psych band Elder, it didn’t take me long before getting in there to set up an interview. The Rochester trio’s eerie but melodic 2016 album ‘Orion’ is regularly played at The Great Frog, and is one of those debut albums that just knocks you out as you get excited about the musical journey you’re about to embark on with them for the next couple of years. At the day of the interview it was raining more than I can remember it ever doing in my time in England, and I pretty much stood face to face with the wrath of mother nature herself while leaving the house and heading to the Camden. The interview was conducted in the backstage area of the Underworld, surrounded by gratified walls that reeked of decades of beer and whiskey, I sat down in a sofa so low and close to the ground, I was sure I’d need medical attention when I’d ever try to get back up. Next to me on the sofa, I had various members of Elder making guest appearances – some having dinner, others making sweet music in GarageBand.

There’s not much to find about you online or anywhere else for that matter except for your music, which in many ways is a good thing, as that’s what it’s all about and it speaks for itself. Still, it’d be cool to get to know you guys a little bit more?
Scott: We started playing together in September 2013. At the time we were in two different bands in the same kind of genre and scene both based in Rochester New York. My band split up, and I spoke to Dan and Sean about possibly playing together. Dan and I knew each other from high school where we’d played friendly competition shows together. We started jamming, and already at the first practice we wrote ‘In dim light’, and at the second practice they’d decided to quit their other band to start a new one with me. We jammed for a few months before we got asked to go on tour with All Them Witches for their upcoming release of ‘Lightning at the Door’, and had to come up with a band name pretty much on the spot. I knew those guys really well as my old band had toured with them three times, so they invited us to come along with them and I was all like ‘Yeah man, you haven’t even hear my new band, but sweet, thanks!’ We were in an RV with them for like 17 days, it was great.

Prior to this interview, I spoke to All Them Witches Frontman Parks who had this to say about you all;
«I feel like gushing over a band for their music has been done enough, so instead I would like to say that one of my favorite band traits to see is when a band comprises of all alphas. King Buffalo is a band that isn’t afraid to ask for what they need, when they need it, and can argue you under a table if you don’t have it. They aren’t afraid to say when something isn’t right, and I find that to be a desirable quality in these times. A band full of alphas that can argue and resolve and still be completely personable and genuine will continue to progress and not get bogged down.»
Michael Parks, All Them Witches.

Scott: Wow, he is such a linguist. I mean, yeah. Alphas though, not so sure about that one – I say that now, then we’ll all be ripping our shirts off to prove a point next time we see him. We can definitely argue those guys under the table though, and there’s been many a time I’ve done so with Parks, I love those guys, and they’re obviously amazing musicians as well as good people. It’s kind of the same thing I get with the Elder dudes, another band I didn’t really know before they came to our home town and played. We were both on the Magnetic Eye Records ‘Electric Ladyland Redux’ record and I went and saw them cause I wanted to schmooze. At the show, I was all like ‘Holy shit, these guys rules!’, picked up the record an listened to only Elder for about three months after that. All of a sudden we’re at the same label and touring Europe together. Anyway, the resemblance between Elder and All Them Witches is that you’re there watching them on stage being all stoked because they’re Elder or All Them Witches and so incredibly talented, then they get off stage and they’re just your mates than you hang out with and it isn’t really a big deal.

This tour you’re on now is your first time ever in the UK and Europe, how is that compared to touring in the US?
Scott: Same, but different. Elder’s obviously got a much bigger following we do and they’ve been over here six times now, so for us, it was important to have that safety net, to have someone showing us the ropes. Touring the states, even if you do something dumb there’s always someone to call, or you’ll in a way be close to home even if you aren’t. Having Elder who’s seen and done it all before means less trouble for us. The crowds have been great and we’ve even had a few people saying they’ve come out to see us specifically which is really cool.

Your debut album ‘Orion’ is a truly great record, and as far as genres and categories goes, I think is quite hard to pin down – which is a great thing! You’re quite heavy while still melodic, and even melancholic at times.
Scott: We did a soft release last March where we did 160 CDs which surprisingly sold out in three days, then we ended up self releasing it in August as we were speaking to different labels but weren’t quite happy with what any of them had to offer. Then in December we were approached by Stickman who’s got bands such as Elder and Motorpsycho so we ended up signing with them. When making music, we meet up very regularly and work together – I’m not saying we always contribute 33.33% each, but it’s something we all do together and it works well for us. Everyone in the band listens to different shit, and personally I don’t even listen to that much music anymore, which sounds really fucking dumb. I’ve spent so much time studying music and drums, that I don’t get as much enjoyment out of it anymore as I studied it so hard. I’m pretty much self taught, so it’s been a lot of me rewinding over and over again, and just taking and breaking the music apart when I listen to it. The way I tend to find new music now is when I see someone live that I like, and then I’ll go through their catalogue. I obviously like all the classics band like Zeppelin and Sabbath – as for drummers I like Keith Moon, Mitch Mitchell, John Bonham, Bill Ward – they’re all phenomenal and I want do to everything they do, but I can’t – but I really want to, and maybe one day, I’ll be able to. But yeah, that’s me. Dan (Bassist) randomly loves hiphop, while Sean’s got a very eclectic taste with everything from Frank Zappa to Devo. I guess our music is all of our tastes combined as we tend to put equally as much effort into what we do and the music we make.

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Artist of the Month: Jonny Halifax

Jonny Halifax at The Jonesing Jams ‘Worlds Collide’ by Emily Power.

Artist of the month for August is harmonica master and slide guitar extraordinaire, Mr. Jonny Halifax. Over the last couple of years, Jonny’s been producing music both as a one-man-band with his solo project Honkeyfinger, as well as in Jonny Halifax and the Howling Truth, where he brings a second guitarist and drummer with him on stage. Similar for the two, is that is straight down and dirty filthy blues, with screeching slide guitar and blazing harmonica, with Jonny howling and preaching on top.

As well as working on his own music in his own bands, Jonny’s been involved with various other bands and artists over the years such as London stoner legends Orange Goblin where he was asked to play slide guitar and harmonica on their 2007 track ‘Beginners guide to suicide’, as well as, and maybe even more surprising, Nottingham noise connoisseur HECK, where he’s appeared live on stage with the band on several occasions.

“I first came across Jonny’s music as a teenager rummaging through a record store in my hometown. I picked out Invocation of the Demon Other because I thought the packaging was really cool and just bought it on a whim that really paid off! When I stuck it on my player I was absolutely blown away, it was the best thing I’d ever fucking heard. The album stuck with me as one of my firm favourites (as it still is). A few years down the line I took a chance and reached out to Jonny to book him for a gig, to my amazement and awe he said “yes” and the next thing I know he was pulling up to my bar in this awesome tricked out campervan to play one hell of a show. Me and Jonny have stayed close friends ever since. He even played some harmonica on my band HECK’s debut album, for which he went above and beyond the call of duty. I remember he sent us over like 30 different takes to pick from, each one so incredible that it made it near impossible to pick a winner. I’ve had chance to collaborate and play live with Jonny a few times now and it is absolutely never anything less than an honour. He is a genius and a gentleman.”
Matt Reynolds, HECK & HCBP

Jonny Halifax at The Jonesing Jams ‘Worlds Collide’ by Simon Shoulders.

“I first met Jonny at a venue in Shoreditch in 2006 when I went to see his one man band ‘Honkeyfinger’ supporting Scott H Biram. As soon as he started I was blown away by his unique brand of dirty, southern blues and knew right away that I had to talk to him and ask him to play slide guitar and blues harmonica on the Orange Goblin song ‘Beginners Guide To Suicide’, that we were working on at the time. We struck up an instant friendship and have remained close to this day. I am still a big fan of what he does and I admire the way he always ploughs his own furrow. Such a talented, handsome bastard!”
Ben Ward, Orange Goblin.