Coming out of the streets of Fullerton California, D.I. was formed in the shadows of The Adolescents back in 1983 in a studio behind a pawn shop. The Adolescents, Social Distortion, Agent Orange and several other local early punk rock pioneers were the breeding ground from which D.I. was born. D.I. branded their own from of punk rock that complimented the Orange County Punk scene in sound and attitude.

Casey Royer is known for his cutting and outrageous social commentary through humor and he continues to power out the juice as only one from the original scene can. All the present members were part of the Fullerton and north Orange County Punk scene which proves to be the key ingredient to keeping the personality that makes D.I. what it is.

Casey Royer is known for his cutting and outrageous social commentary through humor and he continues to power out the juice as only one from the original scene can. All the present members were part of the Fullerton and north Orange County Punk scene which proves to be the key ingredient to keeping the personality that makes D.I. what it is.

D.I. has toured extensively throughout North America and Europe, and everywhere they perform D.I. leaves the audience not wanting the show to be over. The current line up, which many have stated, could very well be the hardest hitting and most cohesive line up ever, made up of Casey Royer on vocals, brothers Eddie and Joey Tatar as the rhythm unit of bass and drums and brought together by lead guitarist Clinton Calton.
D.I. is proud to bring you the band’s 8th release, “On the Western Front”.

Dan Reed Network

Dan Reed, formerly of ‘Dan Reed Network’, (DRN) was born in Portland, Oregon but was moved to South Dakota at a very young age after his mother Elizabeth married a Cattle Rancher from the midwest by the name of Thomas Reed. It was here were Dan first found his love from music, singing in the school choir, playing trumpet in band and performing at proms and small bars with his first high school band ‘Nightwing’. After winning various local talent shows, Reed had it in his blood to pursue a life path in music and the arts.

The Dan Reed Network

Although there were many incarnations of bands Dan performed with in South Dakota and in Portland it was in December of 1985 where he truly first began his musical journey as the lead singer of a band called “The Dan Reed Network”. Garnering huge local support Dan Reed Network was signed to Polygram in 1987 by Derek Shulman, famed A+R man who signed ‘Bon Jovi’. Managed by Bill Graham and Q-Prime later, DRN played opening act on European tours for Bon Jovi, The Rolling Stones, David Bowie and Midnight Oil, and performed in America with Run DMC and toured with UB40. Selling nearly 2 million albums worldwide, DRN was part of the funk rock movement and released three albums with Polygram between 1989 and 1992. The Dan Reed Network released three successful albums to much critical and commercial success between 1988 and 1992 and had the opportunity to work with producer greats Bruce Fairbairn, and Nile Rogers for the three Polygram releases, while managed by Bill Graham and Q-Prime respectively.

In the 1990’s Dan started an independent record company in his hometown of Portland, Oregon to help promote local Northwest bands, while at the same time studying acting. Dan was cast in a number of plays and small role’s in television and film projects, and was given positive reviews for his performances which gave him confidence to take it to the next logical step – screenplay writing. ‘Zigzag’, a script penned by Dan, caught the eye of a local production company in Portland and was produced in 1997 with Mr. Reed playing the leading role. The film reached the Top 20 in Billboard’s home video rental category.

DRN got to see the world opening for such bands as RUN DMC, UB40, David Bowie and Bon Jovi, eventually becoming the supporting act for the Rolling Stones’ 1991 European tour. It was at this time Dan journeyed to India with Bob Guccione Jr., editor of Spin Magazine, to interview the Dalai Lama for magazine. It was during this trip that Dan began to hunger for more than the music scene had to offer. This trip was the catalyst to a long journey that eventually took Dan back to music in 2008, and to where he belonged… writing and performing new music about new experiences without the baggage of some “rock star image”.

Dan Reed’s New Solo Album ‘Transmission’

Reed has now released his third solo album entitled ‘Transmission’. This collection of songs was composed and recorded in Prague, where Dan currently resides, and takes on a more live feel and energy than his previous two studio releases ‘Signal Fire’ and ‘Coming Up for Air’. Reed has always had a passion for groups like ‘Bad Company’, ‘Pink Floyd’, and ‘Fleetwood Mac’ and ‘Transmission’ takes it’s aim at realising this type of in your face, honest rock production. Besides tackling all the vocals, Dan performed all the guitar and keyboard work, performing live in the studio beside famed drummer Robert Ikiz from Istandbul, Turkey and bassist Bengan Jonasson from Stockholm, Sweden.

This collection of songs primarily takes a look at the dark side of the human condition and tries to make sense of trying to find light in the midst of the chaos. This will be Dan’s second album financed through Pledge Music through those who support his music and reached 100 percent of it’s goal in less than 2 weeks from launching the campaign.

Recent Solo Releases

Reed’s second solo CD, ‘Signal Fire’ released in early 2013, was a collection of thought provoking tracks, co-produced by Reed and Rob Daiker (Meredith Brooks/Katy Perry/Fame Riot). Signal Fire represented a step toward a more edgier sound than his 2010 solo effort ‘Coming Up for Air’, yet still held on to the intention of finding hope in a world riddled with great hypocrisy and great hope.

While ‘Coming Up for Air’ was composed in Jerusalem and Northern India during 2007/2008 and represented Reed’s quest for insight on religious conflicts and making peace with inner demons, ‘Signal Fire’ took a more pointed look at the world’s political/social/environmental conflicts. With ‘Transmission’ Dan decided to leave political statements somewhat behind and focus more on the conflict within the human heart and soul.

Dan also released a solo acoustic album entitled ‘In Between the Noise’ in 2014, as well as a DRN compilation 2 disc set called ‘Anthology’ which covered both previously released DRN songs, along with 4 new live tracks from the Network’s recent reunion shows and unreleased B-Sides. ‘Anthology was also funded through Pledge Music and their fans.


Reed took a long hiatus from the music business in early 2003 and spent 4 years in Northern India and Jerusalem, living in a Tibetan Monastery and studying religions while in the Middle East. Coming back to music in 2009 he now performs extensively throughout Europe and the United States, both with his solo band and DRN and has in recent years performed at the ‘Sweden Rock Festival’ and England’s ‘Download Festival’ twice.

Currently Dan is work with the other members of DRN on new material for a possible DRN album to be released in 2016 while Reed continues to perform nearly every weekend in different countries throughout Europe and the US. With ‘Transmission’ Dan hopes that getting back to the roots of live performance is a positive direction in a world addicted to canned music, drum machines and auto-tuned vocals.

“I just felt it was time to get back to something that feels real, organic, and in tune with the current human condition.” – Reed

Blessid Union of Souls

• I Believe #1 song in USA, SE Asia, and Indonesia
• Top 40 in Italy, Spain, Germany, Australia and Japan
• featured on CBS’s “Cold Case”
• Hey Leonardo (She Likes Me For Me) – #7 USA, Gold Single – Australia
• Let Me Be The One – Top 10 USA
• Oh Virginia – Top 20 USA
• I Wanna Be There – Top 20 USA, #1 video on CMT
• Light In Your Eyes – Top 40 USA
• All Along – Top 40 USA
• The Only Song
• Top 40 on Christian AC radio
• video added to the Gospel Music Channel & JCTV


Conflict is an English anarcho-punk band originally based in Eltham in South London. Formed in 1981, the band’s original line up consisted of: Colin Jerwood (vocals), Francisco ‘Paco’ Carreno (drums), Big John (bass guitar), Steve (guitars), Pauline (vocals), Paul aka ‘Nihilistic Nobody’ (visuals). Their first release was the EP “The House That Man Built” on Crass Records. By the time they released their first album, It’s Time to See Who’s Who, on Corpus Christi Records, Pauline and Paul had left the band. Conflict later set up its own Mortarhate Records label, which put out releases by other artists including Hagar the Womb, Icons of Filth, Lost Cherrees, The Apostles, Exitstance, Stalag 17, Admit You’re Shit and Potential Threat.

In 1983, Steve Ignorant, who was at the time a member of the band Crass, guested on the band’s pro-animal rights single “To A Nation of Animal Lovers”. After the dissolution of Crass, Ignorant later became second vocalist for Conflict on a semi-permanent basis. This followed a 1986 gig in Brixton, London, when he had joined the band on stage for a few numbers.

The band has always been outspoken regarding issues such as anarchism, animal rights, the anti-war movement and in their support for the organisation Class War, and a number of their gigs during the 1980s were followed by riots and disturbances.

Circus of Power

Circus of Power practically personified New York’s sleaze rock scene during the late ’80s and early ’90s. Despite the band’s failure to reach radio or MTV acceptance, they managed several major-label releases and toured with some of the biggest names in rock. The group’s music and image had an edge that — while similar to many of America’s post-Guns N’ Roses gutter-centric outfits — reflected their all-important New York City roots. Their urban jungle was a different one; it was more jungle-like in its toughness and stark reality. The contrast inherent in the L.A. gutter rock of L.A. Guns and other West Coast bands was exactly what made them mysterious and interesting to their fans. Circus of Power came off as tough, raw and real.

After slugging it out in the New York club scene for a while in the ’80s, Circus of Power were signed to RCA Records and in 1988 their eponymous debut was shipped. The lineup for this first full-length consisted of Alex Mitchell (vocals), Ryan Maher (drums), Ricky Beck Mahler (guitars), and bassist Gary Sunshine. The “blues-based” sleaze rock direction of Circus of Power set the standard for the group’s successive discs with its mid-tempo swagger and stories of debauchery in all its varieties. The group followed up their debut with 1989’s Still Alive; 1990’s Vices followed as the band made their first lineup change. Sunshine moved from bass to second guitar and new bassist Zowie Ackerman was brought into the band. After making the jump from RCA to Columbia records, Circus of Power spent some extra time crafting the debut for their second label. During this time, Zowie was replaced on bass by Mark Frappier and Mahler left the group to be replaced by drummer Victor Indrizzo. In 1993, Magic and Madness was released on Columbia and the group disbanded in the mid-’90s.

After some solo efforts and a few one off “reunion” gigs, singer Alex Mitchell decided it was time to put a proper line up together. In late 2015 Alex contacted some of his O.G. buddies from the old New York scene and his post C.O.P. bands- Fat Nancy & Captain Zapped, and immediately entered the studio with fresh material. The new line up also shot a video for the song “Hard Drivin’ Sister”. The current line up consists of:

Alex Mitchell- Vocals
Billy Tsounis- Lead guitar
Joe Truck- Guitar
John Sharkey- Bass
Tony Portillo-Drums

Christian Death

“The founding fathers of American goth rock, Christian Death took a relentlessly confrontational stand against organized religion and conventional morality, with an appetite for provocation that made Marilyn Manson look like Stryper. Regardless of who was leading or performing in the group, Christian Death set themselves up to shock, both in their cover art and their lyrics, which wallowed in blasphemy, morbidity, drug use, and sexual perversity. Their self-consciously controversial tactics set them apart from the British goth scene, having more to do with L.A. punk and heavy metal, and thus the band dubbed its sound “death rock” instead; however, their sensibility was ultimately similar enough that the “goth” designation stuck in the end. Their music also relied on slow, doomy, effects-laden guitar riffs and ambient horror-soundtrack synths, and their theatrical performances were strongly influenced by British glam rockers like David Bowie and Roxy Music, as well as industrial provocateurs Throbbing Gristle. The latter was especially true of the band’s first incarnation, led by vocalist and founder Rozz Williams, – When Williams left in 1985, guitarist Valor Kand took over leadership and sent the group in a more intellectual, political, and metal-oriented direction. A subsequent dispute over ownership of the Christian Death name, – lead many of their fans to take sides. – Christian Death had an enormous influence on the American goth scene, shaping the sensibility of countless goth, metal, and even industrial acts that followed. Sadly, the Kand-Williams dispute ended in tragedy in 1998, when a heroin-addicted Williams took his own life.” ~ Steve Hue VH1, ROLLING STONE

There has been a ridiculously huge revolving door of membership in the Los Angeles band known as Christian Death. In the beginning, not long after the local California release of the first album, “Only Theatre of Pain”, the band irrevocably and formally broke up. This left “Rozz”, at home with his overtly religious parents in Pomona California, to contemplate his insufferable boredom, his only relief being found on the pages of his lyrics. After being invited to the record release party for “Pompeii 99”a band already enjoying success in L.A., where Rozz met band leader, singer and guitarist “Valor”. Before long they were inseparable friends and Rozz was invited to join Pompeii 99. Together as Pompeii 99, while rehearsing for a planned European tour, the head of a French record label that Valor had been negotiating with, proposed the notion of renaming his band Christian Death. Neither Valor nor Rozz wanted to entertain this, however, the incentives proposed by the label eventually prevailed and thus Pompeii 99 was reborn as Christian Death . The second Christian Death album, “Catastrophe Ballet”, which resulted from this deal, was recorded in Wales UK, (a place where several future Christian Death albums were also to be born). A month before the release of Catastrophe Ballet, the French label head released a compilation which he called “Deathwish” comprised of previously recorded, unreleased outtakes and single tracks he had licensed.

Recording the second album was followed by the very first Christian Death tour which began in Paris and on to most European countries. The emotional stress of this first tour was hard on Rozz causing him to return to Los Angeles months before the other members that remained in Europe. Upon Valor’s return to Los Angeles, work began immediately on the third album, “Ashes”. Meanwhile, the release of a “live” album called “The Decomposition of Violets” recorded in Hollywood was also released.”

After the release of Ashes the following year, plans were underway for the second European tour when, Rozz, just weeks before the first scheduled date in Italy, announced his plans to quit the band. With no intention of cancelling the tour, Valor returned to lead vocals, the bass player became the guitarist and the guitar tech became the bass player and the tour proceeded as planned but without Rozz.

Now fronted by Valor, they left California and settled in London England which they used as a base to tour Europe relentlessly in the midst of controversy, riots, bomb threats and protests by extremist Christian groups. Many concerts were canceled as a result of direct pressure by influential religious organizations.

From England a further “nine studio albums” and four live albums were released in the territories of England, Germany, Italy, France, Japan and USA with each release in each territory having different art work, configurations and bonus tracks. Among these releases was the critically acclaimed album “Sex and Drugs and Jesus Christ” which depicted Jesus shooting heroin and the single “Church Of No Return” which went to No.12 in the UK charts which landed the band numerous spots on MTV, VH1, Super Channel, BBC and countless other Euro television and radio shows. Meanwhile in the USA, Christian organizations began burning their albums in public and on Christian Television networks.

In 1994 Valor relocated Christian Death to the USA centered around himself and Maitri on bass and vocals. “He returned with 1994’s Sexy Death God, which many longtime fans greeted as his best and tightest effort in quite some time.”~ Steve Hue VH1

Once again based in the USA, for the first time, it was possible to do full North American tours, of which there were many, which also included Mexico where the live album “Amen” was recoded at the first ever show in Mexico City for Century Media. Later to be followed by the studio album: “Pornographic Messiah” which was also recorded in Mexico, then mixed in Holland.

“In 2000, they added drummer Will “Was” Sarginson (ex-Cradle of Filth and Blood Divine) and toured Europe alongside Britain’s Cradle of Filth, one of the more popular black metal bands of their time. The two groups got along well enough for several Cradle members to guest on Christian Death’s 2001 album Born Again Anti Christian, helping it become one of the most metallic records in their catalog.

The following year, female vocalist and bassist Maitri, by then the second most continuous member of Christian Death, issued her black metal-influenced solo album “Lover of Sin” (confusingly labeled on the cover as “Christian Death Presents…”). In 2003, Cradle of Filth guitarist Gian Pyres officially joined Christian Death for their European tour.” ~ Steve Hue VH1

In response to the post 911 period, the album “American Inquisition” recorded on Season Of Mist was the offering. The tours for this album included new territories for the band: Brazil, Chile, Peru, Ecuador. Australia, and New Zealand. Around this time Christian Death released multitrack versions of several songs for the “Rock Band” video game series as well at that time bootleg figurines of both Rozz and Valor began to appear.

In 2012 Maitri released the album second Lover Of Sin album ”Horny Beast” the project featured members of Nile, Morbid Angel and other popular Death Metal Bands.

2013 full tour of The Americas into 2014, with a full back catalogue digital global release. Culminating the year at “Hellfest” supporting “Kiss”, “Rob Zombie” and “Limp Biscuit”.

With the 2015 Release of the album “The Root of All Evilution”, and the tour for that album which began that Autumn in Europe through into North America in 2016 and again returning to Europe and finishing in Israel.

The song “Between youth”, re-released in 2017 was featured in the Vice TV series on HBO “Balls Deep”.
Later in Autumn 2017, Christian Death completed the longest North America Tour to date. The tour included “Lords of Acid”, Combichrist, En Esch, Night Club.

Touring in 2018, England, Belgium, France, Germany, Italy, Spain and Portugal. USA West Coast mini tour, including Cloak and Dagger Festival Los Angeles

2019 European Tour – England, Scotland, Netherlands, Germany, France, Belgium, Italy, Spain, Austria, Croatia, Slovenia

2021 USA Mini tour due to Covid 19

2021/2022 Scheduled re-release of all 16 studio albums on vinyl’s and cd all new Special editions.

2022 Release of the All New album “Evil Becomes Rule” on Season Of Mist

2022 World Tour

Part way through the tour the band stopped in Wales to record songs, some of which were originally intended for the next Pompeii 99 album. The fusion of which led to the unique sound of the classic “Catastrophe Ballet”. Like the first Pompeii 99 album, Catastrophe Ballet had an apocalyptic theme, however the music morphed into something not quite Pompeii 99 and nothing like the first Christian Death album. After the tour the band returned to LA to later record the 3rd Christian Death album “Ashes” which was a post apocalyptic vision of a cold and bleak future.

After confirming the 2nd tour in 85 singer Rozz quit the band. Valor returned to vocals, the band embarked on the 2nd tour. In Italy the band recorded the mini album “The Wind Kissed Pictures”, a surrealist view of a mystical past. Almost immediately work began on the 4th full length album “Atrocities” inspired by the atrocities of World War II and the connection to future shock waves. While continuously touring in 87 the band released the 5th and now classic album “The Scriptures”, the theme of which explored world religion and how the legacy of these beliefs impact our world today.
1988 Brought us the release of “Sex & Drugs & Jesus Christ”. This was turning point for the band. The cover depicted an image of Jesus shooting up heroin. This was a full frontal attack by Valor against the Church with a scathing heretical mockery of organized Christianity. The band then found themselves confronted by protesters, riots and bomb threats, These events and the bands imagery and fashion went on to influence the likes of Nine Inch Nails, Korn, Marilyn Manson, Type O Negative, every Goth band on the planet and many others.

1989 saw the release of the double album epic “All the Love, All the Hate” interpreting the juxtaposition between life and death, day and night, man and woman, black and white.

In 1991 came the release of “Insanus, Ultio, proditio, Misericordiaque”, with its theme of an ancient dream state.

Late in 91, after being in several other bands and seven years after quitting Christian Death, Rozz was persuaded by unscrupulous profiteers to perform at a concert in Los Angels under the name Christian Death. On the same day Christian Death was in Europe performing in Paris, France.

Assuming this was a one time effort to earn extra cash, as explained to Valor by Rozz, Valor ignored the incident and carried on recording and touring, only to later learn that a live album of the show had been released using the name Christian Death followed by a hastily recorded studio album also using the name, which led to a turf war. As accusations and rumors against Valor were spread by the profiteers and financial backers of these unofficial releases, fans were left confused. Valor pushed on.
By 1994, female vocalist and bass guitarist Maitri, (the now 2nd most continuous member of Christian Death) joined the band to record “Sexy Death God” which proclaimed sexual freedom in the face of religious adversity.

In 1996 was the release of “Prophecies” with its theme based on the Apocalyptic prophecies of soothsayers throughout the ages”. Sadly in 1997, Rozz committed suicide. It is believed heroin played a role. No suicide note was found.

In 1998 Christian Death released “Pornographic Messiah” a colorful elaborate return to the sex versus religion theme.

In !999 Christian Death released “Born Again anti Christian” which featured members of Cradle of Filth and a song sung by Dani Filth. The album theme was an assault on Born Again Christians as well as having the first songs inspired by mass murderers . In 2000 the band promoted the album on tour with Cradle Of Filth. While on tour with Cradle Of Filth, former Cradle of Filth Drummer Will Was Sargenson played in Christian Death.

In 2002, Maitri released her debut album and band Lover Of Sin with songs and production collaboration by Valor. Later that year Cradle Of Filth guitarist Gian Peres joined Christian Death for the 2003 tour, Lover Of Sin was the support.
Now in 2007, Christian Death announce the forthcoming release of their 13th studio album “AMERICAN INQUISITION”.

To be continued….

“Christian Death take a relentlessly confrontational stand against organized religion and conventional morality, with an appetite for provocation that makes Marilyn Manson look like Stryper”.- VH1
“One of the top ten goth bands of all time” – Rolling Stone Magazine

Burning Rain

The Heavy Rock Group BURNING RAIN is based in Los Angeles, California and comprised of legendary Guitarist DOUG ALDRICH of WHITESNAKE and DIO fame, highly acclaimed Vocalist KEITH ST JOHN mostly known for his work with MONTROSE, (NEAL SCHON and THE SWEET), veteran Bassist SEAN MCNABB (DOKKEN, QUIET RIOT) and Drummer MATT STARR (ACE FREHLEY).

Having both FRONTIERS records and WARNER JAPAN and behind them, the bands’ up and coming 2013 release has sparked worldwide interest. With this highly anticipated 3rd release, BURNING RAIN is eager to once again step out into the live arena and make some waves in the U.S. before heading off to Europe and Japan next fall. To that end, this band of seasoned heavy hitters will be delivering some of the heaviest hits as well as a taste of the new BURNING RAIN record.

Broken Bones

The sound of Broken Bones is the sound of punk at its most primal, the crashing roar of wild, wild youth taken to limits even the Sex Pistols never dreamed of. When the band formed in 1983, punk may not have been dead, but it was certainly dying. Then Broken Bones came along and the reverberations are still being felt today, in the battle cries of Bad Religion and the swagger of Rancid, in the white heat of Slayer and the debauchery of Ministry. Some people have called Broken Bones one of the biggest Hardcore bands of all time and one of the most vital, various U.S. mega-bands such as Metallica have acknowledged them as one of their influences.

Broken Bones was formed by guitarist Bones in early 1983 a few months after he quit Discharge, one of the most distinctive, and successful bands to emerge from the punk movement in the early 80’s. Bones recruited his twin brother Tezz (also a former Discharge member) on bass, vocalist Nobby and drummer Baz to the line up. Bones unveiled his latest juggernaut with a solid year of gigging, leading to the release in January 1984 of the screaming “Decapitated”

Fired by the popularity which Broken Bones had already inspired, the single promptly rocketed into Britain’s independent top ten. The follow up single “Crucifix” was then released in May, inevitably it scored just as highly as the predecessor, and proved that Broken Bones meant serious business.

Retaining the services of Discharge producer Mike Stone the band recorded there first album “Dem Bones” with which the bands distinctive early sound would stand head and shoulders over pretty much every punk album of the time, and today is still regarded as a classic.

Live shows became increasingly riotous celebrations, the established press was paying attention. Not since punks heyday in the late 1970’s had a band seemed poised for great things. That chance was lost when over a year elapsed before B/B third single. A year never the less which saw the band consolidate its vinyl reputation with never ending touring.
Broken Bones 1983 live album “Live at the 100 Club” remains the acid test for anyone who claims to be real punk today, a record which forges and unimagined middle ground between hardcore, metal and the apocalypse.

The much anticipated third single “Seeing Through My Eyes” was well worth the wait, with “Never Say Die” following up, and then came the Bonecrusher album which was released only in the U.S. and mini album “Trader in Death” which immortalized some of B/B best loved songs.
Times were changing both in and outside the group. By 1986 in Britain, punk was officially old hat (if only briefly, as it turned out). In America where B/B was readily adopted by the hardcore set, it was still a marginal interest, big enough to keep a band on the road but that was about it.

The groups line up was changing as well, Tezz had left after “Crucifix”, and replaced by Oddy, then Nobby left and Oddy took over vocals as well. By 1986 Oddy went on to join Conflict, and the returning Nobby and Tezz were joined by a second guitarist Karl Morris (Exploited) for the studio/live album “F.O.A.D”. More followed in F.O.A.D’s footsteps, unheralded harbingers of the mayhem which passes for metal today and in 1989 the band took a more thrash metal direction and released the album “Losing Control”, gone were Nobby, Baz and Tezz, and Quiv appeared on vocals. Two more were to follow with the 12 inch release “Religion is Responsible” and another album “Stitched Up” that seemed to be it.

Until in 1998 Broken Bones reformed, Bones on guitar as ever, Oddy back on bass, the now veteran Quiv resuming vocals and new drummer Dave solely to capture the intense uncompromising sound of their early releases. They started to do a few live shows and a tour of Europe, then April 2001 saw the release of their first full length record for 8 years with searing metallic hardcore riffs, thunderous bass over frenetic drums, all topped off by Quiv’s growling vocals, they leap out of the speakers and sucker-punch you around the head with a glorious haze of hardcore mayhem, Themes tackled include America’s questionable gun laws, relationship breakdown and mental illness, all assaulted with an old-skool, UK/HC savagery that will put many US ‘punk’ bands to shame, which make’s Without Conscience on a par with the first album “Dem Bones”.

Bow Wow Wow

Bow Wow Wow’s music ranges from simple, goofy, non-sensical tunes to complex, crisp pop masterpieces. Their music has been described as a pastiche of Latin and African beats, 50’s rock-n-roll, and Spaghetti Western soundtracks. The band packaged all of this together with an incredible sense of humor and vigor.

With thundering African/Latin percussion and twangy, Duane Eddy guitars, Bow Wow Wow maintained a consistent image and sound through a host of record producers in their short life span. But despite the numerous people who shaped their sound from 1980-1983, a strong Bow Wow Wow identity remained intact. That unique musical style created a wonderful antithesis to the gloom of the London and U.S. music scene in the early 80’s when unemployment and inflation were at record highs in both countries.

The year is 1980 and the place is London. Adam and the Ants were moving away from their “Dirk Wears White Sox” punk days, adopting the driving rhythms of the central African Burundi tribe, the war paint of Native Americans, pirate costumes and swashbuckling antics. This change came about through the mechanisms of the ex-manager/image consultant of the Sex Pistols, Malcolm McLaren. After charging £1,000.00 for his advice and consultation, the Ants (Dave Barbarossa, Matthew Ashman and Leigh Gorman) fell prey to McLaren’s charm and left Adam to find other Ants.

McLaren knew the group needed a lead singer. Legend has it that he discovered the 14-year-old Myant Myant Aye (Burmese for “cool, cool, high”) singing in a north London dry cleaners. With Annabella’s voice, smarts and charm, she fit McLaren’s vision of a musical experience that would be part high camp and high concept, with a huge dose of adolescent sex and innocence. Bow Wow Wow was now ready to record.

Bow Wow Wow’s first release came in the form of the world’s first-ever cassette single. In July 1980, EMI released “C30, C60, C90, Go” only on cassette in the U.K. with “Sun, Sea, and Piracy” to accompany it. The single was followed by another cassette-only, U.K.–only release, “Your Cassette Pet,” an extended cassette EP featuring eight snappy tracks. One featured vinyl single came from this EP, “W.O.R.K. (N.O. Nah No No My Daddy Don’t), which was released in March of 1981 with “C30, C60, C90, Anda” to accompany it.

In 1981, McLaren, unhappy with the band’s limited success on EMI, took the gang (now sporting Mohawk hair cuts) over to RCA. The band’s first full album was released on RCA with possibly one of the most bizarre titles ever to grace any album cover: “See Jungle! See Jungle! Go Join Your Gang Yeah! City All Over, Go Ape Crazy.”

The album cover art caused quite a stir. For the cover of “See Jungle!,” the group decided to photograph a living recreation of the 1863 Manet painting “Dejeuner Sur L’Herbe” (Lunch on the Grass). The photo featured Annabella in the nude, tastefully turned away from the camera. Since she was only 15 at the time. Annabella’s mother tried to stop the release of the cover. McLaren won and the cover was issued amidst controversy of child pornography. The U.S. version of the album would not feature this photo but still presented Annabella only slightly covered in a see-through white dress. The “Dejeuner Sur L’Herbe” cover would not see U.S. presses until the “Last of the Mohicans” EP in 1982.

The album spawned Bow Wow Wow’s first U.K. top 10 hit, “Go Wild in the Country.” McLaren stepped down from the producer’s post for this album and hired a host of other producers. The album received great critical reviews and was a success in the U.K.

Bow Wow Wow’s first U.S. hit would have to wait for the release of the “Last of the Mohicans” EP in 1982. That same year, McLaren terminated his involvement with the band and went on to record his own albums. Producer Kenny Laguna, who had worked with Joan Jett, was brought in to record “I Want Candy” and to re-record and fix “Louis Quatorze” (which McLaren had originally produced using a weak mix).

The single from the EP, “I Want Candy,” was a Top 10 hit in the U.K., and made it into the Top 40 on the American charts. Looking back, that song seems to define something essential about the early 80’s. One, it marked a return to the 3 (actually 2:44) minute pop song; Two, the look of the band was just right for MTV, the “beach party” video becoming a staple on the fledgling channel; Three, it offered a wonderful, much-needed optimism for pop and “new wave” fans.

In 1983, tensions in the group were rising. Suffering from illness and exhaustion after intense US touring, they went there separate ways.

Twenty years on, Bow Wow Wow were asked to reform to help KROQ celebrate its 25th Anniversary. The band performed alongside such luminaries as Duran Duran, The Cure, Echo and the Bunnymen, Soft Cell’s Marc Almond and Interpol at the third annual Inland Invasion concert. The 45,000+ sell-out event, held at the Glen Helen Hyundai Pavilion on Sept. 20th 2003, was KROQ’s fastest selling concert ever.

Original members Leigh Gorman and Annabella Lwin were joined onstage by special guest Adrian Young from No Doubt, who took Dave Barbe’s seat behind the drums (Dave had prior commitments in the UK with dance band Cicane), and Phil Gough (who channeled the sound of the late Matthew Ashman).

After having a blast on stage in front of 30,000 + people, Bow Wow Wow decided to continue doing what they do best…playing killer live shows. Over the past years the band have also made numerous radio and TV appearances (including Jimmy Kimmel Live, The Orlando Jones Show, and FUSE TV’s Daily Download,), most recently recording segments for third series of VH1’s popular I Love The ‘80’s show, as well the entertainment show Extra, promoting Sofia Coppolla’s film Marie Antoinette). I Want Candy was also the lead song for the Russell Brand movie Hop and is also the lead song for Verizon’s recent advertising campaign.

Bow Wow Wow continued to perform shows in Japan (2011) and the UK(2012), when original drummer Dave Barbarossa played with them. But, in December 2012 Annabella Lwin decided to leave the band and is now performing as a solo artist. A new singer, Chloe Demetria, was found and is now the new voice of Bow Wow Wow, bringing some of her own style and performance edge to the classic and unique music that the band is well known for.

Guitarist Matt Fuller, who joined in early 2012 carries along with other new member, drummer Tig Moore, for an upcoming tour with Gene Loves Jezebel for the summer of 2013 all around the United States.


Balzac formed in 1992 in Osaka, Japan, and began playing shows mainly around Osaka and Tokyo. Vastly inspired by the legendary horror punk band the Misfits, Balzac (who adopted their name in homage to the 1800s French poet of the same name), released their first single on their own label, Evilegend in 1993. Through 1995, they released four more singles via various Indie Labels.
In October 1995, Balzac released their first full length album, “Last Men On Earth” through Alchemy Records and due to their similarity to the Misfits – with their unique pop sound, horror movie image concept and so-called “Devil Lock” hairstyle – they garnered attention not only in Japan, but also overseas.

In 1997 they signed to Phalanx Records and released their second album, “Deep”. Shortly after the release of “Deep,” Balzac was chosen to open for the Misfits first tour of Japan, as well as two nationwide tours of Japan with the Mad Capsule Markets. On Halloween 1998, Balzac released their third album, “13 Stairway,” followed by their first sold-out tour of Tokyo, Nagoya, and Osaka. The following Halloween, Balzac released a four-song Maxi Single, “Into the Light of the 13 Dark Night,” which was followed by their first headlining national tour.

Balzac embarked on their second Japanese tour as the Misfits’ opening act in January 2000, and toured nationwide as the Mad Capsule Markets’ opening act over the next two months. The “Taste of Fear” video – limited edition 6,666 copies – was released in April and followed by another top to bottom tour of Japan.

In August 2000 the limited production of 2,000 Balzac 12-inch figures by Medicom Toy Co. proved to be an unprecedented and widely talked about hit in the figure industry. Balzac and Medicom have since released many successful toy collaborations, reaching worldwide audiences in the collectible market. Like the Misfits, Balzac has an extremely loyal and devoted cult following worldwide that eagerly awaits and obsessively collects everything the band releases. At the end of 1999, in a style similar to the early stages of the Misfits Fiend Club, Balzac Fiendish Club was established, offering many special collectibles to club members only. To further support such collectible-mania, Balzac opened their first official retail store, Shocker, in Osaka on Halloween 2000.
Wrapping up the year 2000 was the release of their long awaited fourth album, “Zennou Naru Musuu No ME ha Shi Wo Yubi Sasu.” To support the release, Balzac staged a 28-venue, nationwide tour of Japan from January to April 2001. Throughout the tour, Balzac issued several collectible, limited edition CDs available only at their shows and to their fan club members. That same year, Balzac re-entered the studio and re-recorded their long out-of-print first studio album, “The Last Men on Earth” with an updated edge. Balzac also released a live video to commemorate the entire Zennou-naru tour entitled “20010112,” as well as a CD single for “The Silence of Crows.” “Terrifying! The Art of Dying-The Last Men on Earth II,” their fifth album and first with new drummer Takayuki – whose hard style rejuvenated the band, giving the new songs a more chaotic, yet melodic, hardcore direction – followed, with six new songs and a re-recorded song from their back catalog. The companion disc in the set featured the complete reworking of the original “Last Men on Earth” album.

In 2002, producer John Cafiero orchestrated collaboration between the Misfits and Balzac serving as the building block to Balzac’s inevitable launch beyond their Japanese audience into global recognition. The project was a split CD with each band covering a song from the other’s catalog. The result was “Day the Earth Caught Fire”, the first release from the new label imprint Misfits Records. The same Misfits-Balzac split CD was released in Japan via Balzac’s parent label DIW/Disk Union, under the title “Don’t Open till Doomsday.” The split CD ranked at number 21 in New York City megastore J&R’s Top 50 CDs immediately following its release.

On October 30 of that year, the Misfits and Balzac kicked off two days of fiendish events in New York City with two packed autograph signings. The following night Balzac made their first live appearance outside of their native Japan to a sold out crowd at New York City’s The World, with 500 fans turned away due to capacity restrictions. Many fans had traveled in from out of state as well as out of the country to witness this rare and historic occasion. Balzac front man Hirosuke joined the Misfits on their closing song, “Day the Earth Caught Fire,” which would later be included as one of extras on the “Misfits Project 1950 bonus DVD. The band won over many die-hard Misfits fans with an incredible performance.
When Balzac returned home to Japan, they put the finishing touches on their VHS/DVD release “The Legacy of Terrifying” filmed during the summer 2002 Terrifying Tour. They also issued a CD single, entitled “Beware of Darkness,” in January of 2003. The material recorded for that CD single was combined with newly recorded versions of greatest hits from Balzac’s Japanese back catalog, as well as live bonus tracks for a total of 22 new recordings that were compiled to create Balzac’s first North American release. Issued by Misfits Records under the title “Beyond the Darkness,” The CD included a bonus DVD with four music videos and a “making of” the album featurette. To coincide with the release of Balzac?s “Beyond the Darkness” and the Misfits’ “Misfits Project 1950”, Misfits Records arranged Fiend Fest, a special month-long summer festival tour. Fiend Fest was Balzac’s first North American tour, alongside the Misfits, punk staples DI, Agnostic Front, the Dickies, and the Damned.

In 2004, Balzac issued a lo-fi DVD documenting their experience and performances on the Fiend Fest tour and followed up with the full length CD “Came out of the Grave,” as well as two limited edition CD singles available only at venues on tour in Japan.

January 2005 brought Balzac’s single “D.A.R.K.” and the mini album “Dark-ism.” These two Japanese releases were compiled in their entirety to form Balzac’s second North American release, entitled “Out of the Grave and Into the Dark,” on Misfits Records (distributed by Rykodisc). The CD/DVD combo also includes the bonus track “Gimme Some Truth” and a limited edition, 60-minute bonus DVD featuring three music videos, five live performance videos, five bonus audio tracks, and a short horror film by Balzac. A limited edition Balzac book was released in Japan in late 2005 and 2006 brought two brand new limited edition toy collaborations with Medicom in Japan. 2006 also marked the very first North American Balzac toy release when a special limited edition black and orange paper bag man figure was produced in collaboration between Misfits Records, Super 7 and Secret Base of Japan. This highly limited edition color way of the figure, (complete with Misfits Records logo print on its back); quickly sold out and was followed by two more North American Balzac toy releases from Misfits Records (bloody skullbat & Ogon Skullman) that same year.

In the summer of 2007 Misfits Records released Balzac’s third US studio album “Deep Blue: Chaos from Dark-ism” featuring over 60 minutes of new material. In typical fashion, the label maximized the release adding an additional 20 minutes of rare Balzac bonus tracks (many of which are exclusive to the North American pressing) as well as a special limited edition Bonus DVD containing over 2-hours of material including a full-length, professionally shot Balzac concert from Japan, 2 US Tour Documentaries, 5 music videos, additional rare live footage and more. The first pressing of the disc was issued in a special limited edition 32-page hardcover book; perfect bound and topped off with red foil ink. As if that weren’t enough 1-in-10 copies were personally autographed by all 4 members of Balzac and randomly inserted into the pressing. The edition quickly sold through and was followed by a jewel-case release featuring a 24-page booklet. In the fall of 2007, Balzac embarked on a North America tour in support of “Deep Blue” opening for the legendary Misfits during their 30th Anniversary campaign. “Deep Blue” is also available in digital download via iTunes in the U.S. and Canada, with three music videos, a variant 18-page booklet, and two alternate tracks not found on the CD version, (both of which are also available for individual download). A limited edition Skull shaped vinyl picture disc was pressed and released exclusively by Misfits Records. The collectible Limited Edition. die-cut disc includes both of the alternate tracks from the “Deep Blue” digital album and immortalizes the band’s iconic skull mascot on Side-A with a full-color band photo on Side-B.
Balzac’s music was featured in “Jackass: The Game” (Red Mile Entertainment/MTV Games) for PSP, PS2, and Nintendo DS. The track “Wall,” from the band’s full-length debut on Misfits Records “Beyond the Darkness,” is included alongside punk greats the Misfits and the Circle Jerks, as well as up-and-comers CKY and Turbonegro. Summer 2010 brings a Ltd. Ed. 3-disc set featuring Balzac’s latest, full-length album of all-new material “Hatred” (Disc 1) plus exclusive bonus tracks. Disc 2, (“The Birth of Evil”) is a comprehensive collection of their rarest & earliest demo songs; re-recorded with the band’s current precision and ferocity. The double album includes 42 tracks, over two-hours of music plus a bonus DVD with 15 music videos from “Hatred” and more. 3 full-length discs (for the price of one!) packaged in a glossy, collectible, 6-panel digi-pak. The release is a must have for Balzac’s legion of fiendish fans and a perfect introduction for new recruits to the cult following of Atom-Age Vampires. “The Birth of Hatred” is available exclusively from Misfits Records.
Look for several new releases from Balzac coming to North America on Misfits Records in 2010.