Album review: Marco Mendoza “Viva La Rock”

Marco Mendoza in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Marco Mendoza celebrates life and rock’n’roll on new solo album, “Viva La Rock”.

Marco Mendoza is mainly known as a bass man with The Dead Daisies, Whitesnake, Thin Lizzy, Black Star Riders, Ted Nugent, Bill Ward, Blue Murder, Lynch Mob, Soul SirkUS and many more artists. But he is so much more than that. He’s actually a fully-fledged entertainer. On his new solo album we get to hear him sing, play and shine.

Marco Mendoza and Stefan Nilsson of Roppongi Rocks in Tokyo in July 2017.

Mendoza’s personality shines through on this album. This is him. It’s a funky rock album with influences from all over the place, but it is always built around Marco Mendoza. He is not only a talented musician and singer covering multiple genres, Mendoza has an ebullient personality. He is a larger than life type of guy so full of energy he can’t sit still.

He’s a hard working artist that never stops. During a short breather from The Dead Daisies’ busy schedule he has found time for making a solo album and to do some solo gigs.

Marco Mendoza in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

The album is loaded with great party music. It is a very personal album which is mainly filled with new music. We do, however, get a couple of nods to Mendoza’s past: Thin Lizzy’s ”Chinatown”, a phenomenal song, gets revisited here in a fab version with Richard Fortus (ex-Guns N’ Roses, The Dead Daisies) and Mike Tramp (ex-White Lion) guesting. We also get a good version of Ted Nugent’s “Hey Baby”.

The original material on the album comes with a funky attitude but in many different formats. “Leah” is an emotional love ballad while “Let It Flow” is a cracker of a song, perhaps the album’s best. “Love 2 U” is a funky, bombastic track about making love and “Rocketman” is a very catchy rock song. The title track “Viva La Rock” says it all about this artist and his album: It’s a celebration and the party is enjoyable. The album was recorded in Copenhagen, Denmark with Soren Andersen from Glenn Hughes’ solo band.

Marco Mendoza in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

I love this album. It is such a Marco Mendoza album. It’s a terrific showcase of this high-class entertainer. Marco Mendoza’s album “Viva La Rock” will be out on 2nd March via Ward Records in Japan and internationally via Mighty Music. In February and March, Mendoza will do a solo tour in Europe before he will hit the road with The Dead Daisies again.


Album review: Machine Head “Catharsis”

By Caroline Misokane, Roppongi Rocks

Just over three years since the acclaimed album “Bloodstones & Diamonds” was released, Bay Area giants Machine Head have returned with an awesome, emotional and heavy album called “Catharsis”.

“Catharsis” is Machine Head’s ninth studio album since forming in 1991. “Volatile”, the first song on the new album, shows a band that never gets tired of making heavy riffs and putting their hearts on display through Robb Flynn’s lyrics and screams. The album is very versatile, but for the most part dominated by the heaviness they are known by. “Bastards” is a ballad composed of acoustic guitars and Flynn’s voice speaking words of protest based on a conversation he had with his sons after the Trump election in the US. “Hope Begets Hope” and “Screaming at the Sun” are two songs in the classic Machine Head style, alternating fast drumming by Dave McClain with the amazing bass lines of Jared MacEachern. The second ballad of the album, “Behind a Mask”, is another beautiful song about sadness, grief and depression, subjects present in many Machine Head songs. Once again, Flynn does a perfect job, bleeding his heart out as the song goes on. The four last songs are as heavy as they must be, reminding the listener why this band has become one of the most acclaimed metal bands of this era. The closing track, “Eulogy”, shows a combination of different vocals and a melancholic melody. The guitar duo of Robb Flynn and Phil Demmel did a great job on this album, not losing their essence, while at the same time trying new elements.

On their last tour, they performed two and a half hour shows of classic and new songs, with no opening acts, billed as “An Evening with Machine Head”. They are doing the same this time around. With a new quality album out and many old classics piled up over the years, it is almost impossible to pick a set list without missing one or two favourite songs.

Machine Head will be back on stage in Japan in July for five shows. Full details here:

Machine Head’s album “Catharsis” is out now via Ward Records in Japan and Nuclear Blast internationally.

Album review: Phil Campbell & The Bastard Sons “The Age of Absurdity” | Motör-Phil marches on

By Stefan Nilsson, Roppongi Rocks

Motörhead guitarist Phil Campbell soldiers on in the name of rock’n’roll.

Phil Campbell made a name for himself as the long-term lead guitarist in Motörhead, from 1984 until Lemmy’s death in December 2015.

In his own band Phil has teamed up with his three sons Todd Campbell (guitar), Dane Campbell (drums) and Tyla Campbell (bass) and vocalist Neil Starr. Like Motörhead, this is hard rock music based on straightforward riff-heavy rock’n’roll. The opening track, “Ringleader”, has some obvious Motörhead echoes and they appear here and there on the album. But overall the music on this album is a bit different, not least because Starr is a very different kind of singer than Lemmy (obviously as there is only one Lemmy). Starr has more of a mainstream rock voice but it actually fits well with the music on this album.

Songs like “Freak Show”, “Skin and Bones” and “High Rule” sound rather modern while “Into the Dark” has more of a retro feel. “Gypsy Kiss” and “Dropping the Needle” are punky rock songs while “Dark Days” is blues rock. We do get some great variation on this album which very well showcases the different capabilities of this band. Yes, we do get a Lemmy tribute, but it’s a Hawkwind song rather than a Motörhead one. “Silver Machine” was a 1972 single released by Hawkwind when Lemmy was its bassist and he also sang lead vocals on the original version of this song. The Japanese bonus track, “Shit Happens”, is good fun and a terrific rocker of a song. It’s great to see Motör-Phil continuing the Motörhead legacy he helped create. But it is also great to see he’s not standing still, but moving on and creating some new stuff that is not trying to be Motörhead . Great stuff that will no doubt work well live.

Phil Campbell & The Bastard Sons’ album “The Age of Absurdity” is out now via Ward Records in Japan and Nuclear Blast internationally.

Album review: Michael Schenker Fest “Resurrection”

Michael Schenker on stage in Japan in 2017. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Guitar legend Michael Schenker successfully combines old and new on a new studio album with his old MSG colleagues.

Following some very successful touring with Michael Schenker Fest, including two Japan tours in 2016 and 2017, Michael Schenker is now taking the next logical step: a Michael Schenker Fest studio album with all new material. In Michael Schenker Fest, Schenker has reunited with six of his old MSG colleagues – Gary Barden, Graham Bonnet, Robin McAuley, Ted McKenna, Steve Mann and Chris Glen – to play classics from his past with MSG, Scorpions and UFO.

On this new studio album, Schenker adds vocalist Doogie White (Michael Schenker’s Temple of Rock, Rainbow) to the mix and thus have four splendid vocalists to help him deliver a great album. We also get a terrific guest appearance (“No guest, no Fest!” as Schenker told us the other week during the Tokyo stop of his promotion tour) by Exodus and Metallica guitar legend Kirk Hammett on “Heart and Soul”, a great song sung by Irish powerhouse Robin McAuley. “Take Me to the Church”, with Doogie White on lead vocals, is one of my favourite songs on the album. “Warrior”, a bit of a bombastic track on which all four singers perform together, is good fun and something that will no doubt be performed live.

“Time Knows When It’s Time”, with Robin McAuley on lead vocals, has some terrific guitar work on it, creating a great balance between McAuley’s voice and Schenker’s guitar. “Anchors Away” has somewhat of a Rainbow touch to it and fittingly it is sung by former Rainbow man Doogie White. Another former Rainbow man, Graham Bonnet, gets to shine with his characteristic voice on “Night Moods” and “Everest”. I love Bonnet’s voice. Gary Barden, who sang on many of the original MSG classics, gets to have some fun with the songs “Messin’ Around” and “Livin’ A Life Worth Livin’” which both show the playful side to this band.

Graham Bonnet on stage with Michael Schenker Fest in Japan in 2017. Photo: Stefan Nilsson, Roppongi Rocks

On “Salvation”, the only instrumental track on this 12-track album, we obviously get a lot of guitar ear candy from Schenker. Interestingly enough, Schenker, unlike some other guitar wizards, never overshadows the music on the album. He obviously gets to shine and demonstrate why he is one of the best and most influential rock guitarists of all time, but it never overflows into guitar wankery that destroys the songs. Schenker knows that his amazing guitar work needs to live within the songs and not overshadow them completely.

The album closes with “The Last Supper”, which again features all four singers. This is a varied album built around melodic hard rock in the well-known MSG tradition. Michael Schenker has been wildly successful with his Temple of Rock and Fest concepts. There is certainly a place for nostalgia and reunions of old favourite bands in today’s live market. But seeing these veterans create new music as well is terrific and keeps things interesting. Hopefully the band will include quite a few of these new songs in their set list as they start touring again in March.

Gary Barden and Michael Schenker on stage in Japan in 2017. Photo: Stefan Nilsson, Roppongi Rocks

Michael Schenker Fest’s album “Resurrection” will be released on 28th February in Japan via Ward Records and internationally on 2nd March via Nuclear Blast.

Album review: The Dead Daisies “Burn It Down” | Catchy hard rock of the best kind

By Stefan Nilsson, Roppongi Rocks

The Dead Daisies are back with a new album that is as good as we have come to expect of this terrific band.

At the end of 2017, just as it seemed that The Dead Daisies had finally established a stable line-up, drummer Brian Tichy decided to leave the band. He was quickly replaced by Deen Castronovo (ex-Journey, Bad English, Ozzy Osbourne) who was already playing with Doug Aldrich (ex-Dio, Whitesnake) in Revolution Saints. The current line-up of The Dead Daisies, in addition to Deen and Doug, consists of Marco Mendoza (ex-Whitesnake, Thin Lizzy, Ted Nugent) on bass, John Corabi (ex-Mötley Crüe, Union, ESP, The Scream, Ratt) on vocals and Australian founder David Lowy on guitar.

Immediately when Deen joined the band in November they started writing songs and record. The result is now here. “Burn It Down”, the band’s fourth full-length studio album, is a fabulous bluesy hard rock album. The are some immediate favourite tracks here, such as the title track “Burn It Down” as well as “Rise Up”, “Resurrection”, “Leave Me Alone” and “Dead and Gone”. Fantastic catchy hard rock of the best kind. This is one groovy rock band. “Judgement Day” starts off slow and then goes back and forth tempo-wise with some subtle but terrific guitar work going on. “What Goes Around” will no doubt be a great addition to the band’s live set. “Set Me Free” is a slow song but a great one with plenty of emotion.

There is so much talent and playfulness in this band that it bubbles over. And the chemistry is there too: they’re having fun together and it shines through in their music. But while these lads seem laidback and fun-loving, they have the songwriting skills and the musical talent to perform as well. Somehow, and thankfully, the producer Marti Frederiksen manages to maintain the rawness and straightforwardness of this rock’n’roll circus in the studio. With a band like The Dead Daisies, an animal that feeds off raw talent, energy, chemistry, war scars, personal chemistry and attitude, the magic can easily be destroyed in a sterile studio environment. Not the case here. It sounds as if this merry band of rock brothers brought their tour bus into the studio. There is road dirt in the production and that is a good thing.

John Corabi has really grown into a seasoned frontman whose voice fits the Daisies’ blues-based hard rock like a glove. It is now hard to imagine the band without him (most listeners now don’t remember that he didn’t sing on the band’s debut album). This is a band who is having fun performing for its fans. The band’s shows are laidback but high-energy festivals of rock’n’roll. This studio album captures a lot of that spirit. Another solid album from a terrific rock band. Well done.

The Dead Daisies’ album “Burn It Down” will be released on 21st March via Ward Records in Japan.

Album review: John Corabi revisits Mötley Crüe songs on “Live 94 (One Night In Nashville)”

John Corabi in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

John Corabi revisits his Mötley Crüe past on new live album.

Vocalist and musician John Corabi has made a name for himself in several bands. He is currently the frontman of The Dead Daisies and has also played with The Scream, Union, Ratt, Eric Singer Project, Brides of Destruction and much more. During his few years as frontman of Mötley Crüe in the 90s, where he replaced original singer Vince Neil, he co-wrote and recorded the band’s self-titled album which was released in 1994, the only Mötley album not to feature Vince Neil on vocals. It’s a great and vastly underrated album. The absence of Neil means it is natural for some die-hard fans to hate it. But it is a great album. On this new live album, “Live 94 (One Night In Nashville)”, recorded in Nashville on 27th October 2015, Corabi has re-recorded the entire “Mötley Crüe” album live plus an extra song, “10,000 Miles” which was originally released as a bonus track on the Japanese version of Mötley’s “Quaternary” EP.

At the beginning of John Corabi’s new live album we can hear him saying to the audience: “Nashville! We’re gonna have fun tonight, right?” That is exactly what this is all about: a fun look in the mirror, a revisit of an album that is underrated, ignored, forgotten or misunderstood. On the original 1994 studio album, Mötley not only had a new vocalist, it also had a different sound seemingly inspired by the changing music climate in the early to mid-90s. This live album reminds us of the many great songs the studio album had. “Hooligan’s Holiday” is splendid and could easily have been a The Dead Daisies song and so could “Misunderstood”. “Smoke the Sky” is another terrific song and “Droppin’ Like Flies” also stands out.

It also shows us what a great vocalist Corabi is. On this live recording he’s backed up by Tommy Daley (guitar), Topher Nolen (bass) and his son Ian Corabi (drums and percussion) as well as guitarists Jeremy Asbrock and Phil Shouse, both of Gene Simmons Band. Corabi has an easily recognisable voice and I love it. It has character, it has sway and it rocks.

When I interviewed Corabi here in Tokyo last year, he talked about the recording of the forthcoming live album. “We went into a club in Nashville, where I live. I literally called the club owner, it was like two weeks out. I go ‘Do you have a day available?’ He goes ‘I can give you like a Tuesday.’ Fine, whatever, it doesn’t matter and I promoted it for two weeks really hard. I probably had 300 or 400, 500 people in the place. I just set it up, we recorded everything and videotaped a bunch of shit from the show. I basically gave it to Michael Wagener. I asked him to do his thing. He was like ‘Do you want to fix anything?’ I’m like ‘No! As is.’”

John Corabi in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

John Corabi’s “Live 94 (One Night In Nashville)” will be released on 16th February via Rat Pak Records.

Album review: Neige Morte “Trinnt” | Uncompromising obscure experimental black metal from France

By Stefan Nilsson, Roppongi Rocks

French experimental black metal band Neige Morte is back with its third album. It’s grim, bleak, frosty, inaccessible and rather brilliant. Like a soundtrack to being buried alive in an avalanche.

Neige Morte gives us rather obscure experimental black metal on their new album. Most of this album is splendidly inaccessible and bordering on bizarre. I love the noise. Some of this is head-cleaning stuff, or is it headache-inducing stuff? Not sure, probably both. It’s grim, bleak, frosty and for the most part brilliant (but in a dark and damp way).

This is a gloriously noisy and damp band that doesn’t make any compromises. It’s far away from the glittery road of mainstream music and the band has no interest in reaching the average listener. Two of the songs on the album have Swedish titles (“Du blev min demon” and “De dödas röster”) and the rest are in French. Neige Morte says that they intend to create the rawest and dirtiest black metal outside the Nordic scene. Well, there is plenty of raw and dirty noise in the underground black metal scene, so there’s a lot of competition. But this is so out there that it stands out from the pack on pure craziness. This is a band that combines black metal with more experimental sounds, especially on the atmospheric track “Le Lac”. This band somewhat partly reminds me of a weird mix of an eerie film soundtrack crossbred with black metal and some hints of German heroes Mantar. For unprepared listeners it is probably quite easy to choke on this or drown in this cesspool of rotten music, but for those of us who like something different and appreciate uncompromising noise, this is pretty interesting. It sounds like a soundtrack to being buried alive in an avalanche.

Neige Morte’s album “Trinnt” is out now via Division Records.

Album review: Thundermother is back with a new line-up and some smokin’ rock’n’roll

By Stefan Nilsson, Roppongi Rocks

Swedish rockers Thundermother are back with a brand new line-up and a great new album filled with terrific and smokin’ rock’n’roll.

In 2017, the band Thundermother fell apart when four of five members walked out. Founder and guitarist Filippa Nässil picked up the pieces, recruited three new fierce members and suddenly we had a brand new Thundermother that was better than ever.

Thus, the new album is, obviously, purely terrific. The new recruits are Guernica Mancini on lead vocals, Sara Pettersson on bass and Emlee Johansson on drums. Together with Nässil they have created such a massively great rock’n’roll album that my ears are smiling from this groovy ear candy.

Guernica Mancini’s voice is a great fit for the band. She commands your attention and she gets it.

The new Thundermother plays bluesy hard rock. There are hints of AC/DC, even some Led Zeppelin, a pinch of Joan Jett and the Blackhearts and much more, including plenty of influences from 70s hard rock. But most of all, this is the new version of Thundermother and it is rather splendid stuff.

The single “We Fight for Rock N Roll” is representative of what this album is all about. Great, straightforward but catchy rock’n’roll. Great songs, simple but appropriate production of a terrific album by a new old band. With no weak spots or fillers, this is an album full of great tunes, such as “Revival”, “Whatever”, “Survival Song”, “Hanging At My Door”, “Rip Your Heart Out”, “Quitter” and so on. Hey, we even get a major power ballad in “Fire In The Rain”. But mostly this is a smokin’ rock album.

Thundermother – welcome back in your new upgraded version. Love it. Now how about a Japan tour so that we can get a live album sorted with this explosive rock band?

Thundermother’s self-titled new album will be released on 23rd February via Despotz Records.

Album review: W.A.S.P. “ReIdolized (The Soundtrack to the Crimson Idol)”

By Stefan Nilsson, Roppongi Rocks

Masterpiece: Blackie Lawless and his W.A.S.P. in top form as they revisit “The Crimson Idol” after a quarter of a century. “I think that my style still peeks through the cracks. I’m very proud of the results,” says guitarist Doug Blair.

A re-recording of an old successful album is a risky undertaking. But on this occasion it pays off handsomely for Blackie Lawless and his W.A.S.P. “The Crimson Idol”, a concept album about an abused child searching for love, was originally released in 1992. It was hailed by critics and fans alike as the band’s best album to date. This new and expanded version is even better. And it comes not only with additional songs, but also with the original one-hour “The Crimson Idol” movie which has never been released until now.

W.A.S.P. arrived on the scene as an outrageous shock rock act. But there is so much more to this band than the fake blood and raw meat that made them headlines in the mid-80s. There have always been great songs and fine musicianship. I have been a W.A.S.P. fan since their debut album came out in 1984. Despite many line-up changes (although now Blackie can lean on long-time members Mike Duda on bass and Doug Blair on lead guitar), Blackie has managed to keep delivering throughout the band’s career. “ReIdolized” is their finest moment so far. We get some of W.A.S.P.’s finest work here, both fast rockers – such as “Chainsaw Charlie (Murders in the New Rogue)” and “Doctor Rockter” – and moody, dark ballads. The material is terrific and the re-recorded versions have been done with care and attention to detail. We get new versions of all the songs from “The Crimson Idol” as well as some extra songs that didn’t make the original album.

The album’s dark ballads, like “Miss You”, are terrific. Doug Blair’s guitar solo on that song is world-class without being over the top. The track “The Idol” is the album’s centerpiece and it is powerfully beautiful in its nakedness and open pain. Here it all comes together: a great song with terrific vocal emotion and splendid musical performance. Once again Blair’s guitar is smoking.

Two things really stand out for me on this double album: Blackie’s voice and Doug Blair’s guitar playing. We knew the material was strong, but the ridiculously strong individual performances by Blackie and Doug are above and beyond what I was expecting. Blackie has put his heart, soul and sweat into making this double album and it shows. He isn’t called Blackie without reason. He brings a dark, moody emotion to much of his music. It shines through (if darkness can shine that is) in the raw emotion which we get on many of the tracks here.

Doug Blair originally joined the band in 1992 when “The Crimson Idol” album was released, but he didn’t play on the album. Guitars were handled by Bob Kulick and Doug Aldrich. Now Blair finally gets to shine on these terrific songs. While listening to “ReIdolized”, I checked in with Blair to hear his thoughts on recreating and expanding the guitar work of Kulick and Aldrich:

“I auditioned and joined in July 1992 – after the record had been completed with Bob and Doug contributing leads. We then played a bunch of US warm-up shows, some big festivals and a 64-city European ‘The Crimson Idol’ headlining tour — during which I obviously became immersed in those songs and their respective leads. Since then, we’ve done limited anniversary tours and have always included many ‘The Crimson Idol’ songs in the live set. So, they’ve always been nearby in spirit. With the boss, we approached the re-recordings with the goal of getting as close as possible in all ways. Of course it was a challenge – 25 years after the fact – with everyone older, and current gear and recording methods unrecognisably different. But it was such a joy, and sometimes also frustrating, to get what we wanted and needed. Bob, and Doug as well, put forth some of the best playing of their careers, and, to me, of any lead work on the band’s recordings up until then. So, compared to our usual uber-collaborative lead ‘creation and structuring’ methodology used on the past three records, this was a vastly different toil! It wasn’t easy to play these leads, but I put forth my best effort, and I think that my style still peeks through the cracks. I’m very proud of the results, and totally honoured to have been able to work on this iconic anniversary record, as ‘The Crimson Idol’ has truly influenced my life’s path – even if I didn’t play on the original.”

This is a masterpiece. W.A.S.P. is so much better than they get credit for. On the one hand, the band’s use of theatrics and shock tactics in the 80s is the reason for that. But on the other hand, without getting those headlines back then (and upsetting Tipper Gore along the way), they would never ever have been able to give us “ReIdolized”. This album works a treat in any setting. But to really get down and into this, I’d say you should sit alone in a dark room and play this double album loudly.

W.A.S.P.’s “ReIdolized (The Soundtrack to the Crimson Idol)” will be released on 2nd February via Napalm Records.

Album review: Imperial State Electric “Anywhere Loud”

By Stefan Nilsson, Roppongi Rocks

A sweaty, high-energy live album by Imperial State Electric? Yes, please. It is as good as one would expect of this unstoppable Swedish rock band led by Nicke Andersson.

Imperial State Electric on stage in Tokyo 2016. Photo: Stefan Nilsson, Roppongi Rocks

Nicke Andersson is an unstoppable musician. Nicke fans (I am for sure one of them) get so much new music every year that there is really no time for other music. If he’s not busy with Imperial State Electric, The Hellacopters, Lucifer or Entombed, then he is producing music for other artists. He is always creating new music. He never stands still. In Imperial State Electric he has some equally energetic bandmates in the form of bassist Dolf de Borst, guitarist Tobias Egge and drummer Thomas Eriksson.

This live album was recorded in Tokyo, Madrid and Stockholm between 2014 and 2016. As I was at that splendid Tokyo gig, I obviously had sky-high expectations on this live album. The end result is even better than I had hoped.

Imperial State Electric on stage in Tokyo 2016. Photo: Stefan Nilsson, Roppongi Rocks

The album features 23 songs and it showcases all the different sides to this terrific rock band. Imperial State Electric could have been a neglected stepchild of The Ramones and The Rolling Stones, seasoned with pinches of The Cramps and, of course, MC5 and some early KISS.

On the album we get modern classics such as “All Through the Night”, “Anywhere Loud”, “Déjà Vu” and “Empire of Fire”, but we also get country rock in “Break It Down”. And we get a jam-tastic version of “Faustian Bargains” where it almost sounds as if Ace Frehley is in the band. We get to dance like crazy during “More Than Enough of Your Love” and the weirdly fantastic “Reptile Brain”. We also get a couple of fun covers in the form of The Dead Boys‘ “Sonic Reducer” and The Kids‘ “This is Rock ‘n’ Roll”.

The production is a bit raw and rough around the edges, just like the band. They have thankfully stayed away from doing too much polishing of the recorded live material. This means that we get a proper live album on which the band sounds the way they sound in concert. The way we want it.

You already have “Alive” (KISS), “It’s Alive” (The Ramones) and “No Sleep ‘til Hammersmith” (Motörhead). Now you need to add “Anywhere Loud” to your live album collection. This is exceptional stuff. This is indeed the shit. It’s intense, it’s real, it’s sweaty and it’s bloody good.

Nicke Andersson of Imperial State Electric on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Imperial State Electric’s live album “Anywhere Loud” will be released on 16th February via Psychout Records/Sound Pollution.