Megkésve írok. Eleve késve értünk le Mundi Csabival a hajóra és ezért a Johnny Nasty Boots koncertjéről lemaradtunk.Ezt sajnáljuk, de tényleg. Pallagi Laci (LP láz) barátunknak nagyon tetszett és zenei berkekben az ő szavai elég mérvadóak. Finta Sanyival karöltve szívesen vállalták, hogy írnak a JNB koncertjéről.Ez elég nagy megtiszteltetés! Köszi Sanyi és Laci!
"A Los Angelesben élő, de Mexikóvárosból származó Johnny Nasty Boots vezette trió energikus és zsigeri érzéssel teli bemutatkozó bulit nyomott az A38-as hajón. Hihetetlen de igaz a múlt hónapban is láthattuk az "Electric Guitarlands 2026 " keretein belül olyan nevekkel, mint Rowan Robertson ( Dio ) ,Vinnie Moore. A NEBULA 25!!! állomásos Európai turnéja során, ha jól tudom ez az első látogatásuk kontinensünkre, mint Johnny Nasty Boots Trió . Fiatal latinó előadóról és a bandájáról van szó, az énekes/gityós Johnny a 20-as évei elején járhat, de veterán feelinggel, karizmatikusan nyomta a Psych Rock riffeket és szólókat, miközben énekelt is! A természetes rock sztár hozzáállás és a tehetség egyértelműen megvan. Kinézetre Slash és Mountain 's Leslie West fiatal verziójaként lehetne leírni a srácot. A dobos és basszer is lazán, de magabiztosan nyomták a Hendrix és Mountain-hoz hasonlítható témákat, olykor szabad jazz-tipusú jam részekbe is könnyedén belevágtak. Egyértelmű, hogy órákat tudnának improvizálni ha úgy adja a helyzet. Máris sok követőjük van az instagrammon és bandcampen. A hangulatos bemelegítés a Nebula koncert alapján egyértelműen sikeres karrierre hivatottak, ha tovább dolgozik és érlelődik a trió. Szívesen megnézném őket újra teljes programmal is."
Johnny Nasty Boots - Setlist:
-Lovers (On the Road)
-Howlin’ and Dying
-For Your Love
-Soho
-Whiskey & Reefer -
Blues
-I’m Cursed
Mielött tovább lépnénk tudni érdemes, hogy a Nebulat a Fu Mancu-ból kilépő Eddie Glass, és Ruben Romano alapította. Jelenleg már csak Eddie van a szinpadon az eredeti felállásból.
A Nebula koncert nem kezdődöt elég jól, de a hangzás beli hibákat az első dal végére úgy ahogy helyre tették. Eddie Glass szeintem elég enervált volt egész végig, bár nagyon profin nyomta, de a dobos és a basszeros élvezte minden percét a koncertenk. A számok felölelték szinteaz egész életművüket. A lemezeken hallható effekteket, prüttyögéseket itt most kihagyták, ettől viszont sokkal nyersebb, rock orientáltabb megközelítést kaptunk. Érdekes volt hallani ezeket a dalokat ennyire pőre megközelítésben, de nekem ez így jobban bejött, mint a lemezeken. Egész végig az pörgött a fejemben, hogy Eddie Glass jelenléte miatt, a Fu manchuban lehet érezni a Nebula hatásait, vagy épp fordítva? De mindegy is. Eddie Glassmég mindig nyomja és reméljük, még sokáig.
Arról már nem is beszélnék, hogy egy ilyen korszakalkotó zenekar koncertjén mennyien voltak! Viszont elgondolkozhat minden rockzene kedvelő ember azon, vajon miért is haldoklik az élő zene?!
Creating a tribute album is always a risky endeavor. Projects like these can easily fall into one of two traps: either they overplay the original material, or they simply fail to capture the spirit that made those songs timeless in the first place. Approaching the legacy of true musical giants demands more than admiration — it requires responsibility.
Ripple Music clearly understood the weight of that responsibility with Burn on the Bayou. For this release, some of today’s defining names from the stoner and doom underground came together to reinterpret the timeless songs of Creedence Clearwater Revival. What emerges is far more than a collection of straightforward covers. These tracks are reshaped through heavier, dustier, and at times deeply psychedelic textures, while still preserving the unmistakable soul of the originals.
At first glance, the 32-track running order may seem excessive, but anything less simply would not have been enough to properly reflect the richness of Creedence Clearwater Revival’s catalog. Their body of work is too diverse and too influential to be condensed into a smaller selection. This extensive tracklist allows for a fuller and more meaningful exploration of their legacy.
Perhaps the album’s greatest strength lies in the fact that it was never conceived as an exercise in nostalgia. These reinterpretations prove that CCR’s songs remain alive and breathing decades later, naturally finding their place within the heavier sonic landscapes of today’s underground.
Burn on the Bayou stands not only as a tribute to the past, but as a bridge between generations — an opportunity for younger listeners to discover a musical legacy without which much of today’s stoner, desert, and doom landscape would likely sound very different. AMEN!!!!
There’s a kind of music that feels dirty, groovy and completely absorbing within just a few minutes. Supernaughty bring exactly that kind of atmosphere: fuzzy riffs, psychedelic trips and raw energy mixed together with the spirit of classic stoner rock running through their songs. In September, the band will also arrive in Hungary for the Jam in the Psych Castle festival, so this conversation works as a kind of warm-up before meeting them live. We talked with them about the early days, the Apocalypso album, the instinctive nature of writing music together, and of course a few less serious things as well.
Tell us a bit about yourselves – where did Supernaughty come from? We came together around 2014, each of us already playing in different bands, and started out as a Black Sabbath cover band. Over time, we developed a strong chemistry that led us to create original music. After a lineup change in 2016 (bass player), we grew by blending our different backgrounds, and now we’re on our third album, proud of the journey so far.
Is this your first serious project, or have you been involved in music before in other bands or formations? Each of us comes from a strong musical background, having started playing in the late ’80s in various bands within the underground scene of Livorno. Some of those bands gained a bit of recognition locally. Over the years, we all kept playing despite work and family commitments, sometimes in less ambitious projects, like cover bands or more experimental music, without really releasing anything significant. Then, mid 2013, me (Alessio), Filippo e Angelo we reconnected around a shared idea, and about a year later the Supernaughty project officially began.
What was the moment when you said: “ok, this is going to be a band”? Signing with Argonauta Records made us realize things were changing, our music was starting to reach beyond the Italian scene. It pushed us to think more like a real band, and that moment definitely marked a turning point for us.
What does the stoner / fuzz / psychedelic direction mean to you? To be honest, the stoner influence is definitely important to us. The ’90s, especially for those of us who lived through them in our twenties, were kind of like ’60s and ’70s. the ’90s were a defining era. After the ’80s, ruled by metal, pop, and synth-heavy disco, the Seattle bands and the Stoner bands from the desert scene, changed everything. It wasn’t just a scene, but a movement. They stripped rock down to something raw, authentic, and visceral, more direct, more aggressive, and undeniably real. And yeah, they were cool as hell.
That said, we’re not defined by just one influence. Each of us brings a different background, and while grunge is something we all share, it’s not the only direction we follow when we write music.
Are there any specific influences, or does everything come more instinctively? Each of us has different influences, some lean more toward metal, others toward punk, and some even bring in a bit of pop. What really defines us, though, is that our songwriting has always come from jamming together. That gives our music a direct, instinctive feel, which we later refine before recording.
Since we all have jobs outside the band, time is limited, and inspiration doesn’t always come during rehearsals. Unlike many bands that start from riffs developed on a computer, we’ve always created songs by playing together in the rehearsal room. That said, we’re now trying to experiment with new ways of working, even if our approach is still mostly instinctive.
Do your songs usually start from riffs, or more from a general mood or atmosphere? Our songs almost always start from a riff. Usually, Filippo brings in the initial idea, and then we all develop it together. Occasionally there might already be a lyrical concept, but most of the time everything begins with the riff.
Is it a democratic chaos, or is there someone who usually leads the direction? you could call it a kind of “democratic chaos”, everyone shares their opinion. I’m Alessio, the drummer, and I tend to be the most critical one, which sometimes makes the others hate me a bit (laugh). But in the end, we respect each other’s ideas and work to make sure everyone is satisfied with the final song.
Has it ever happened that a good idea was completely scrapped? No, we’ve never had a fully finished song that was scrapped. Sometimes we start with an idea that sounds good, but in the end it doesn’t fully satisfy everyone, so we decide to scrap it.
Apocalypso was released in August 2025 – now that some time has passed, how do you look back on the album? we’re still very satisfied with the work we’ve done. In the past, we did notice some “mistakes” on our earlier albums, partly due to limited resources and a bit of inexperience. But this time, we had a much clearer vision, and we made the album exactly the way we wanted. The response has been great, and honestly, even looking back now, we wouldn’t change anything.
Has anything changed for you since its release, either musically or in your approach? Not really, musically nothing has changed. We’ve already started working on new songs, but the style is the same. Our approach has always been professional, even if this is more of a passion than a job for us: how we show up, punctuality, gear, everything.
What has changed is more the perspective after signing with Ripple Music. We’re proud to be on their roster, and we feel a stronger responsibility to keep up their level, especially live, showing that we’re a band that wants to do things properly.
Was it a conscious decision to make the songs more catchy while still keeping the raw, fuzzy sound? The catchiness of our songs really comes from our musical background. Even in songs by Black Sabbath, Tony Iommi has a very catchy approach despite the doom and heaviness, many riffs and solos are actually very memorable and melodic. So for us it feels natural to write that way too, shaped by the bands we grew up with.
Is there a track on the album that works especially well live, or has already become a crowd favorite? Yes, there are a few. From the album “Temple” surely “HellBoar” has definitely been one of the most successful. From the new record, “Amsterdamned” is currently getting a great response. We’ll see during the upcoming autumn tour and festivals what the audience connects with the most. And you, what’s your favorite?
In September you’re coming to Hungary for the Jam in the Psych Castle – what are your expectations for the show? We’re really curious about the location, which I understand is quite a special one, and also about experiencing the energy of the Hungarian audience. It’s actually our first time in Hungary, so we’re very curious about that as well.
It feels like a great edition overall, with strong bands like Weedpecker and Mr Bison (that are very close friends) and many more italian bands. There’s a lot of anticipation, and we’re hoping for a great time and a strong response from the Hungarian crowd.
Have you played in similar environments or in front of Eastern European audiences before? This is the first time we’re playing in front of the Easter European audience, so it’s a completely new experience for us.
How is Supernaughty live – what should someone expect who sees you for the first time? They say we’re loud, very energetic, groovy, and fun, so we want everyone down in front of the stage. If you come along with us, we get even more hyped and you’ll have even more fun too.
What’s the drink that always works for you? As an Italian, I can’t not say red wine, especially, but to be honest, beer and gin and tonics work just as well 😁
What sound / effect / piece of gear can you not live without? As a drummer, I can’t not mention the pedal, definitely the kick pedal.
Luca (bass player): my power boost Filippo (guitar player): my Les Paul Angelo (vocals & rhythm guitar): my black SG
Has there ever been a completely chaotic gig? It depends what you mean by “chaotic.” If you mean chaotic in terms of organization or stage management, then no, not really. But if you mean a messy or confusing concert because of a very reactive crowd, then yes, absolutely. We’ve played in some very unusual places. There was one in Genoa where we went on stage at 2:30 a.m., and five minutes before that there was nobody there.
People know that in that venue the live shows start really late, so they only begin to show up around 2:30 a.m. and then the place suddenly fills up and explodes with energy. It was really fun, but also a long night…
Do your mothers know what you are doing? 😄 Sure! Italian mothers always worry about their kids, always. In fact, the most important question they ask us, no matter where we are, is: “Have you eaten?” That’s the number one priority for Italian mums, never forget it.
Thanks again to Alessio and the whole Supernaughty crew for taking the time to answer our questions. We’re really looking forward to seeing you live in Hungary at the Jam in the Psych Castle this September — and hopefully this is only the beginning of a longer conversation somewhere between loud amps, fuzz pedals and a few glasses of red wine. Cheers!
The Belgian Cowboys & Aliens return with their seventh full-length album, Finis Temporum, a weighty statement from a band with three decades behind them. This is arguably their darkest material to date: monolithic riffs, slower, hypnotic mid-tempos, and a thick, pulsating bass-and-drum foundation form its backbone. The sound is deliberately restrained, not built on technical flash, but on sheer intensity — every note carries weight, every moment feels charged with something unspoken.
A sense of personal loss lingers throughout the record, becoming most tangible in Icy Grip, yet ultimately shaping the album as a whole. This is not a routine release or a nostalgic anniversary piece; rather, it feels like something born out of an inner necessity. The band doesn’t over-explain or dramatize — they simply let the weight settle naturally within the listener.
Finis Temporum doesn’t follow trends, nor does it try to sound young. It’s a lived-in, slightly worn, yet deeply honest expression — the kind of record where there’s nothing left to prove. Instead, it feels like a reckoning: a moment where a band stops looking forward and finally says what has long remained unspoken, quietly bringing a cycle to a close. AMEN!
Not often do you come across a stoner rock band from Tunisia, but Shade fills that gap perfectly. After a longer hiatus, the band returned with the Under Distant Suns and The Exploitation Tapes EPs, showcasing two different yet connected sides of their sound. In this interview, they offer insight into their journey and the local underground scene.
Even though the African continent is geographically very close to Europe, we still know very little about its musical subcultures. You are also playing in a fairly niche genre, stoner rock. How present are rock and metal in Tunisia? Is there an active underground scene around you? - Tunisia has a rock and metal scene that's been quietly alive for decades, mostly concentrated in Tunis. There are no dedicated venues, and bands have been grinding for years with no label or algorithmic support. It's a DIY scene where you can't afford to wait for things to happen and must build everything from the ground up. Do you remember the first moment when you encountered rock music? Which bands or albums were the ones that eventually set you on this path? - Every member has a different answer. Aziz came in through RHCP and AC/DC. Walter's first rock moment was "Give in to Me" from Michael Jackson's Dangerous, followed shortly after by The Offspring's Americana and K's Choice's Paradise in Me. Ahmed and Mehdi H both landed on Metallica, "The Unforgiven II" for one, the Black Album for the other. Mehdi B started with Hendrix and Santana. None of us took the same road in. We just ended up in the same heavy place. From previous interviews it seems that the band has existed for quite a long time, but there was a break in your history. Then in 2025 you released the Under The Distant Sun EP, followed this year by The Exploitation Tapes. What happened between these two periods, and what finally pushed the band to return? - The band existed in an earlier form, then life happened, as it does. People scattered, priorities shifted, the usual story. In 2020 we got together for a jam session that wasn't supposed to be serious, but we very quickly found ourselves structuring ideas and writing. There was also a feeling of unfinished business, and that was the main drive for Under Distant Suns. The music on that record is a more refined version of the musical direction Shade had when we were younger. The Exploitation Tapes is unapologetically us now, unencumbered by any form of regret.
What kinds of influences shaped these new releases? I'm not necessarily thinking only about musical influences – they could also be films, books, personal experiences, or even the environment around you. - After the first few shows for Under Distant Suns we realized we didn't want to build a live set that was almost exclusively introspective. We started writing new songs without overthinking, making songs that were fun to play. We embraced being little rascals laughing at our own pranks. Linking those songs to the B-movie genre appeared obvious. We loved the aesthetics of horror, sci-fi, and exploitation films and steered the artwork and presentation in that direction. As for the music, the only direct influence is Uncle Acid's Nel'Ora Blu, an album we discovered late in the production of The Exploitation Tapes. It pushed us to go the extra mile and create the intros. Stoner rock is often associated with desert atmospheres and endless landscapes. Tunisia is geographically quite close to that world. Do you feel that your environment – the landscape, climate or culture – influences the mood of your music? - We're 100% a product of our environment. There's a specific quality to the light here, a certain dryness, a slowness to certain hours of the day.. all these things wire your brain a certain way. We didn't consciously decide to make "Tunisian" music, but it's in there whether we planned it or not.
The stoner rock scene is very international, with bands coming from the US, Europe and increasingly other regions as well. Do you feel part of this global community? - More than we expected, honestly. Most of the people who listen to us are in North America and Europe. Being mentioned on Doom Charts and many other webzines gave us visibility that makes us feel both legitimate and genuinely welcomed by the scene. Your recent releases have a somewhat darker, cinematic atmosphere. Do you consciously try to create a narrative or visual world around your music? - Absolutely, for both records. For Under Distant Suns it was a way to keep the songs, the emotions, and the narrative on a cohesive path. For The Exploitation Tapes it pours into the writing, the sound, the music itself. We're not necessarily attached to making concept records, but all the great albums we love have something that ties them together nicely, so we try to emulate that where we can. Looking back at the history of the band from the beginning until now, what do you think has changed the most in you – as musicians or as people? - A more serious relationship with our instruments, for one. And on the writing side, a clearer sense of what we're doing and where we want to take it. Shade isn't just a band anymore, it's something we actively run.
If someone is discovering Shade for the first time, which of your songs would you recommend as the best entry point, and why? Which track do you think represents the band the most? - Forbidden Snack. If you can enjoy a song about a colony of beavers dead set on stealing a man's edibles, you can pretty much tolerate everything else we do. It's also a good stylistic link between Under Distant Suns and The Exploitation Tapes. What role do live shows play in the life of Shade? Do you see yourselves more as a studio band, or do the songs really come alive when you play them live? - Because of the way we do things, live shows without a doubt. Writing and recording is fun, it's like solving a complicated puzzle. But since we don't all live in the same country, we mostly write outside of our rehearsal space and record our parts separately. Live is where you find out if it holds up when the walls are shaking. We're not a band that just recreates the record on stage. The songs expand and breathe differently in a room with people.
Have you had a concert that remained especially memorable for you – maybe because of the crowd, the venue, or some unexpected moment? - Our show at the opening night of the Mena Rock Festival. Big ass stage, big ass venue. It was the first time since bringing Shade back that we stepped outside of small venues and played to a large crowd. The show we played in Sousse was also special: the first time in ages we played outside of Tunis, and the crowd was wild and eager to engage with the music. Do you think there is a real breakthrough opportunity for a Tunisian rock band on the international scene? How difficult is it to organize shows or tours abroad, especially considering that traveling often requires flying? - Depends on what you mean by breakthrough. For us it would mean getting the opportunity to play where our audience actually is. You get fewer opportunities than bands based in the west, but we genuinely believe that hard work and commitment pay off, even in unexpected ways. Booking shows abroad is hard, but to be fair, booking shows in Tunisia is also hard. So we're not discouraged.
If you could send a message to your listeners or to new fans discovering Shade for the first time, what would it be? What would you like them to feel when they listen to your music? - More than anything, we're storytellers. It's not complex, it's not the heaviest thing you'll ever hear, but we create a universe you're welcome to explore at your own pace, with no strings attached. Whatever you're carrying when you press play, you don't have to resolve it. The music isn't asking you to. Thank you so much for taking the time for this interview and sharing your story, thoughts, and experiences with us. You've provided a fascinating insight into Shade's music and the Tunisian rock scene, and we are sure our readers will greatly appreciate your answers. We wish you all the best with your upcoming releases and live shows! AMEN!
Szavak és hangok a sivatag merengve lüktető torkából, dűnék felett cikázó akkordok, tétován gomolygó füst, vagy izzó száguldás. "Let the truth be known, Get stoned!"
(Ha zenét töltesz le a blogról, kérünk, hogy 24 órán belül töröld, és ha tetszik, vásárold meg legálisan, mert az úgy jó. Köszönjük.)
) ,Vinnie Moore. A NEBULA 25!!! állomásos Európai turnéja során, ha jól tudom ez az első látogatásuk kontinensünkre, mint Johnny Nasty Boots Trió . Fiatal latinó előadóról és a bandájáról van szó, az énekes/gityós Johnny a 20-as évei elején járhat, de veterán feelinggel, karizmatikusan nyomta a Psych Rock riffeket és szólókat, miközben énekelt is! A természetes rock sztár hozzáállás és a tehetség egyértelműen megvan. Kinézetre Slash és Mountain 's Leslie West fiatal verziójaként lehetne leírni a srácot. A dobos és basszer is lazán, de magabiztosan nyomták a Hendrix és Mountain-hoz hasonlítható témákat, 
olykor szabad jazz-tipusú jam részekbe is könnyedén belevágtak. Egyértelmű, hogy órákat tudnának improvizálni ha úgy adja a helyzet. Máris sok követőjük van az instagrammon és bandcampen. A hangulatos bemelegítés a Nebula koncert alapján egyértelműen sikeres karrierre hivatottak, ha tovább dolgozik és érlelődik a trió. Szívesen megnézném őket újra teljes programmal is."
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