Just thought I'd write a blog about our experiences making a real music video with our friends Cy and Michel. Being in Louis Lingg and the Bombs for 8 years has given us many experiences that I thought I'd never have (festivals, foreign countries, records released by my heroes etc.) but we've never done a real video. I know that might seem incredible to the YouTube generation. Kids these days seem to make amazing videos for YouTube before they make their first record. I've always been VERY focused on the audio side of things so we've just never been pulled into the visual world. I mean, we don't even dress up to go on stage! Well I don't/can't! Maybe Juliette or Arno do a little from time to time. Anyway, back to the video.... Cy promised to make us a video after a gig one day. She involved her friend, Michel who quickly became a good friend of ours too! Our original idea was to go to a miniture theme park of France and pretend to smash it up. That didn't work out so we brainstormed a bit. Cy's clever idea was to ask us what videos we liked and try to find common ideas and threads between them. She then went into a phase of coming up with a basic idea. This little idea was developed with the idea that whatever we did would HAVE to include this amazing make up artist called Alexandra. Her work is incredible! Whatever we did would be enhanced a hundredfold by including her in the project. So Michel and Cy worked out a script and started to scout out locations. It became clear that there would be two sides to the video. A story with a real actor as a fucked up cop and us playing live with and without makeup. For the cop was cast an amazing american actor who I heartily recommend. Cy would be the director and Michel would be the Director of photography. It was about this time that I saw how much effort they were investing in the project. They were really going for it. We were truly humbled by their generosity. Amazing people. So we set a weekend for filming and got some friends as extras. We would be filming at least 12 hours a day! Ambitious! This video was starting to feel like a big feature film! The first day was the story scenes with the cop and various members of the band in various outdoor locations. It was nerve wracking for me 'cos I had to act. It turns out acting is really difficult. Sayin your lines with conviction is easy but saying them whilst walking and hitting little marks on the floor with the right timing is fucking tricky as fuck! Respect goes out to a super patient and competant sound guy /boom man who was excellent until 3 in the morning! The second day (Sunday) was us playing live in a big TV studio. God knows how Michel managed to convince a big ass TV company to lend one of their studios to crazy ass anarchist punks for the day. It was cool as fuck to have a back stage area with cable TV and all that stuff. The studio had these massive lights which were competantly moved and directed (flashing effects and everthing) by our kickass lighting guy, Louis. As each of us got our monster makeup on but the ever talented Alexadra, we were consistantly blown away by the result. You couldn't even recognise Clem! It was an amazing day and everybody gave everything they had. For the last take, the cameras were put on automatic and every pogoed and moshed like crazy! Michel was almost fainting at the end. He'd been on the go for 48 hours! Respect! Thanks to everyone involved. We now have a taste of what big stars and bands with massive budgets do all the time. If a major record label band wanted to do the same video, they'd be looking at a budget of what? 20-30 thousand at least? I can't wait to see the result but I'm already really proud of what everyone achieved. Oh, and we're recording a new record that SLAYS everything we've ever done! Till next time! Josh
Well, holy shit! What the fuck is up with Louis Lingg and the Bombs? We're off to Germany tomorrow morning to play a Brazilian music festival (!?). We're going with our new drummer, Greg Smeg, who has done a great job of getting up to spec with a, frankly, messed up and quite probably mentally defective group. Get this, he has extreme diarrhea but still turned up and played like a trooper for a slightly violent audience. We even sold ONE record that night. Cool. Clem Phlegm is back in the group so that's good. We haven't had time to write new songs. To be honest, losing our drummer has fucked my creativity a little. I really like writing songs with Clem (I think we did 2 or 3 like that) but I'm not sure if either of us has the time at the moment. Pity. Writing songs in the rehearsal room is a little stressful but Ax and Arno ALWAYS have great lines. Did I mention that Ax is a fucking awesome bassist? We have new demos ready to roll out though. Rave and Steal (rave rock fusion. Think Prodigy, Pendulum) Freedom Fighter (pretty lame copy of the Rancid style. We DO enjoy playing it live though so it'll probably stick around. It even has a guitar solo! Never!) Twitter Riot (quality pop) Occupy Everything (I really should get around to sending this song to Occupy Wall Street...) What the Fuck (a song about flaky skin and rectal bleeding.) I wish I was dead (A fucking great song that sounds great but we've already rejected it. That's just how it is!) We'll release these demos free to the public one day as they represent the last work of our old drummer, Gilbertmuda and fucking rock almighty balls. Well, like I say, my major problem at the moment is fatigue and lack of creativity. Is this the end? Are we fucked? I'm sick as a motherfucking goat and we have to go to subzero Berlin tomorrow. Still, mustn't grumble about that!
Oh shit! I forgot to talk about our last concert in the new squat, Le Transfo. Fuck it, next time, yeah?
Anyway, I suppose I could paste a website here 'cos, as usual, we had loads of cool stuff about us on the web recently. Ahhh, fuck it.
Rock on, people!
Well, it's been a hell of an autumn (fall - for american English people) for Louis Lingg and the Bombs. I afraid to say our drummer of 5 years, Gilbertmuda, is leaving us this week. This is REALLY the end of an era for us as this drummer has a unique hysterical style of playing that has helped define the band's sound over the years. At it's worst, it sounded like a drum kit falling down a flight of stairs with a bunch of mid-level musicians falling after it but at it's best... holy shit! When the drumming was good, we sounded like we were flying in a fucking Mig fighter. Like an epileptic's dream of what rock should sound like! (Yes, that fucking good!) The autumn started out in fine irreverent fashion, we played an open air festival in honour of a kind of bean (I forget the exact species of bean...). Our keyboard player left the group on a leave of absence. We then played a benefit show for a centre that helps illegal immigrants fight the fucking government at the CICP (a Paris anarchist centre). This was a dream come true for me and Arno, as we've always seen amazing bands play there. Things then went completely fucking as we played 9 fucking concerts in Paris, practically in a fucking row. Well, actually it wasn't that bad. We played a benefit concert for Pussy Riot, played mental (and extremely memorable concerts) with the English band, Longfinger Bandits, the trashy rap band Joe la Mouk, Lillois weirdos- Wes Waltz, the Californian Swords of Fatima and the Spanish band Subfobias. We mostly played well too and lost ourselves in the unconscious bacanal insanity that is our live shows. But... well it's time to wake up and accept that it's the end of an era. Our last concert with Gilbertmuda will be the 19 December at the legendary Parisian squat, The Miroiterie. We'll start out next year as a new unit with a new drummer (hopefully!) and the long awaited return of our keyboard player, Clem Phlegm who was on a leave of absence. Well, anyway, we've just received 1000 CD copies of our momentous album, Alphabet of a Revolution (it has a cool booklet and everything!). Get 'em while they're hot! - Wednesday at the Miroiterie for example! Or, if you're a foreigner shoot us an email at: email@example.com and we'll sort something out. Or you can buy them direct from our label: firstname.lastname@example.org We're hard at work preparing for the release of our vinyl EP, Bring On the End of Civilisation. Mixed by Steve Kravac who is famous for mixing Blink 182, Less Than Jake, 7 Seconds etc. etc. In short, fucking awesome!
Well, shit! You can see that we're not dead yet. Not by a long shot. Still, I realise, with sadness, that Louis Lingg and the Bombs as we know it, is dead. Long live the new Louis Lingg and the Bombs (whatever that will be)....
Well, bye! Don't hesitate to email us to chat about stuff or ask us how we make our molotov cocktails.
Keep rocking people!
A little round up of some of our cool releases that are free! (We know that spending money on music is a bit like living in caves and hunting saber toothed tigers for a lot of you!) Don't forget we have a new album and a new EP out VERY soon. Anyway, let's start:
Really cool Indonesian net-label (one of the first), Stoneage Records released this: http://www.stoneagerecords.co.cc/2012/04/sar070louis-lingg-and-bombs-conspiracy.html
Top Mexican punk net-label released our back catalogue. (The best in Mexico bar NONE!) Here: http://www.nacion-libre.net/netlabel/louis-lingg-and-the-bombs-lullabies-for-mutant-monkeys
Here are some awesome free compilations that have featured us: http://nosolodepunkviveelhombre.blogspot.fr/2011/04/va-abajo-y-la-izkierda-esta-el-korazon.html
Here are some free music sites from Europe that host our 6 (!) free records:
Also: free stuff can be downloaded from Bandcamp (a more "classic" site) here: http://closeup.bandcamp.com/album/cu-014-louis-lingg-and-the-bombs
and here: http://louislinggandthebombs.bandcamp.com/album/lullubies-for-mutant-monkeys
That's enough to be getting on with!
Our new record will be out in a few weeks now and it will shake the world!!!
This is a really nice review of our new demo that gives me hope for the future of Louis Lingg and the Bombs:
"Wow. Louis Lingg and the Bombs are easily one of my favorite groups on Jamendo, and have been for a few years now. After "Lullabies for Mutant Monkeys" was described as "the best album I’ll probably ever record" I was concerned that I might not hear much more from them. Not so! The band has obviously redoubled their efforts, as this sampling of new material shows their sound taking a bold new direction in a big way.
Existing fans shouldn't worry. The group's frenetic energy and humorous take on anti-authoritarian politics are still in full force here. What's new is polish. Where "Lullabies" and previous records embodied the sound of pure DIY garage band punk, these four tracks all shine with professional presentation. My impression of the change is like drinking an aged whiskey after a younger one.
Listeners unfamiliar with the old sound of Louis Lingg and the Bombs may want to jump straight into the new songs. To draw comparisons to other bands, I can't help but think of The Clash and their radio hit "Rock the Casbah." You can expect to hear the pure spirit of classic hardcore punk (not this modern Green Day stuff) with just enough pop mixed in to make it accessible to casual listeners without selling out. Once you've cut your teeth on it, check out the old stuff as well.
These are exciting times to be an anarchist punk rocker! Read on... Marx thought the revolution was just around the corner. He was 200 years wrong! My generation will be the one to see a radical change in the species. Capitalism has an amazing capacity to reinvent itself and has survived much longer than it should have. It can't reinvent itself any-more because the planet earth has reached its ecological breaking point. It's physically impossible to consume ever more non-renewable resources (economic growth depends on this) without catastrophic consequences to the biosphere. Marx foresaw a breaking point where capitalism couldn't continue (barring incredible advances in fusion or some other unlikely scientific advance) and we are there NOW. If we forget ecology for a moment, the system has reached a point where economic growth can only come by increasing the inequality between the rich and the poor. It was always this way but now we see some limits to this trend. You can only push people so far. The species has evolved mentally and a voluntary return to feudalism just won't fly. The elite's massive investment in post WW2 propaganda has bought them maybe 50 years no more. There are a few different possibilities: 1. We do nothing and let the species become extinct. (Some of the elite choose this option.) 2. Global fascism or corporatism. Poor people can be controlled and their numbers reduced. A kind of rolling out of the "Gaza" model on a global scale. After all, impoverished Palestinians consume very little energy and resources and pose very little threat to the powerful. (Some of the elite choose this model. This "green zone model" is dangerous and is, unfortunately, VERY likely as the rich can stay richer longer using this). 3. Global revolution. Roll out something ecological resembling socialism or anarchism or paracon or parpolity or municipal communism or something similar. This may have a slim chance of succeeding but it's our only one! Let's take it!
So a massive shout out to Occupy Wall Street and all of the rest of the global movement. One young Tunisian who burnt himself alive has maybe saved the planet. Mohamed Bouazizi killed himself at the exact turning point of history. Cheers to you Mohamed! You may have saved my grandkids!
So Louis Lingg and the Bombs now has a permenant residence at a practice studio. Awesome! However, it's a mess with cables everywhere and stuff all over the place. Laurent, our drummer, found a massive metal wardrobe that was being thrown away by somebody. We decided to transport this enormous thing to the studio on his small car's roof. He hasn't got a rack or anything so how will we stop it damaging the roof? Our solution was to use the dogs blanket. Simple! Second problem, how to stop it sliding off the roof and killing someone? Laurent found some old electric cable and we set about strapping the fucker to the car with the extension cables. Juliette, our long suffering singer, came out with the dog. As usual, faced with our incredible stupidity, she was polite, patient and cool and didn't say anything. WE COULDN'T OPEN THE FUCKING DOORS OF THE CAR! Whoops! We posted the dog through the window and then scrambled through the window ourselves and set off. Imagine us driving round the Paris orbital with my hand on the wardrobe under the impression that "I'll be able to feel it move". At the studio, we had to get the fucking thing through the door. A kind of airlock that you'd find in a spaceship. We tried pulling it in diagonally up on it's corner one way then the other. No dice. It was too fucking big! Laurent went off to find someone to open big doors. No Luck. Then we hit on the idea of just pulling the thing flat, just simply, through the door normally. It's worked! The simple solution had eluded us! Shit we're dumb! Maybe there are pop-punk bands dumber than us! Sum 41 seem fucking dumb. If you know a band dumber than us, tell me! Bye, Josh P.S. Come to our fucking concerts in Paris this weekend. Thanks!
Where were we... So we'd set up our stuff... We recorded the drums and bass and keyboards live together but the guitars and the vocals would be overdubbed. Recording went quickly. We played each song about 8 or 9 times before getting it more of less right. Our disco song about illegal immigrants, No-one's Illegal took a while to get a groove going that we thought was acceptable and Louis Lingg, anarchist was tricky to do with the tempo change in the middle. We finished the basic tracks quite quickly. Problems that we had were a few channels on the old Neve desk crackling and ruining our takes. On the second day we did the guitar takes. A we had no real problems. There were a few riffs I found difficult and I had to abandon one. Could have been worse! On the last day we did vocals. Arno and Juliette did their parts almost perfectly on the first take. Wow! I got stressed, lost my voice, drank a bottle of white wine and then was just about able to get my parts down! Finished! Steve Kravac, a famous producer from america volunteered to mix the thing for us for a more than reasonable nominal fee. It was amazing working with him and benefiting from his experience. This guy had mixed MXPX, Blink 182, Less Than Jake, 7 Seconds, Total Chaos and loads of others! He wasn't afraid to just go for it and change things that needed changing. We now have songs that sound like radio hits (seriously!). He also fixed clipping problems that the incredible old NEVE desk had introduced into the recording. The mixes sound punk but with space to breath with a low key guitar sound (our fault that - see above!). We think he did a fabulous job considering the material that we gave him. We learned a lot about pro mixing and we'd recommend him to any punk band out there. Tell him we sent you!
A quick blog about our new EP. How we did it and stuff: The EP started out because I realised our new album would take a full 2 years (no shit!) to make. A band needs to record every year to feel together. I didn't want to risk our excellent band drifting apart. I love it too much. I starting nagging to get free studio time somewhere. (We REALLY don't have much money) Eventually, someone gave us three days in his home studio. Cool! This "home studio" had a Neve VR previously used to mix Oasis. Not bad! I quickly wrote 4 songs for the record. (We'd also rerecord an old one just for the hell of it). Our engineer for this record would be our good friend, Hadrian Browne. The assistant engineer ended up (bizarrely) being the famous, Manu Guillot (Eurythmics, Mick Jagger, Sid Vicious). He stepped in at the last minute to replace a young kid engineer that we wanted to work with. He had some cool anecdotes... Anyway, we set up the drums in the small live-room. Sheops for overheads, SM57 for the snare, AKG d112 for the kick. The bass was just DI - an Sansamp and a Gas cooker. (The Sansamp is amazing and has been on every record since First Part bought it for me as payment for an album I recorded for them.) Guitar was just one AKG 414 in from of a 12inch cab. (this was an error in hindsight). Vocals were through a Sony c800. (amazing thing!) Next: Recording and mixing...
We got on stage and the concert sped by in a blur of sweat and speed. Can't remember much about it to be honest. We fucked up a couple of songs but nothing major. It was really hot and I must have sweat half my body weight! No one really "danced" but everyone seemed happy (through all the dry ice) and the crowd were a diverse mix of rockers, goths, metal heads, indie kids and normals.
The Real Nelly Olson were up next and they played a monstrous set that got the whole bar headbanging and jumping.
I bought Axel his first Jagermeister (served in a test tube) and he liked it! yay!
So a cool time was had by all and we can say that people from Lille are fucking nice and the know how to fucking party!
Next day, everyone emerged bleary eyed to eat roast chicken at Wazeem market (a Lille tradition). I ate chips. Some dude recognised us and congratulated us for the concert from the night before. Nice!
Fatigue was taking its toll. Arno was desperately lokking for his new Jonny Halliday lighter. He couldn't find it anywhere. Ooops! It was in his hand the whole time! I think we all needed to sleep a bit more!
The next concert was in a bikers bar in a small town 60km from Lille. The ceiling of the bar was covered with Santiago cowboy boots and the wall behind the stage was covered in empty Jack Daniels bottles. We were all have serious flashback to the hillbilly bar in the Blues Brothers film. Would we be lynched?
The barman was so scary, we were afraid to ask him for beer! He made me a cheese sandwich.
Well we weren't lynched but there were only about 10 people at the gig and the bikers were no friendlier after the gig than before. Well, at least it's an experience!
A great weekend. Thank to the Real Nelly Olson. Rock on!