THE VOICE OF ROCK 

2016 Rock & Roll Hall of Fame Inductee. Vocalist / bass guitarist / songwriter, Glenn Hughes, is a true original. No other rock musician has carved such a distinctive style.

Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys’ hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they’d have been blitzing ballrooms in the early ’70s instead of opening for Stone Temple Pilots in the early ’90s), but Redd Kross have endured and endeared because they’ve always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they’ve devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late ’80s/early-’90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock’s post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the ’90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here’s the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band’s current lineup, who’ve re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They’re too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you’re two minutes and 51 seconds into the second song, “Stay Away From Downtown,” and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian “Dracula’s Daughters,” ends and the dynamic mid-’60s Beatles jingle “Meet Frankenstein” launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-”The Nu Temptations” (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the “Surrender”/Noel ‘n’ Liam rockers “Choose to Play” and “Winter Blues,” and the stunning summer psychedelic power pop that is the closing “Hazel Eyes”-you will know the truth. You tried the rest-but now you’ve had the best. The McDonalds were educated at Rock ‘n’ Roll High, and they’ve stayed true to their school. Here’s to their beautiful reunion! Redd Kross Forever!

Dirt, Lies & Audio Black had an explosive launch on the 14th of March, with the release of the DLA Black remixes of Hazem Beltagui's Joyful Sadness and Bustrexx's EP. Releases were already planned months ahead and to this date, new potential floorfillers are discovered on a daily basis.
DLA Black is the sister label of the trance Label Dirt, Lies &amp; Audio Red. Even before the red label was launched it became obvious that a label specialized in the modern sounds of drum &amp; bass and dubstep was needed to fully cover the spectrum of todays electronic dance music.
DLA Black features the hottest tracks from tomorrows best talent. With the darkest, most twisted wobble bass lines, to euphoric uplifting drum &amp; bass breaks, finding the track that will light up your day is as easy as writing the lyrics to Rebecca Blacks 'Friday'.
With thousands of views on Youtube since launch and an evergrowing fanbase, it is not a matter of if, but when, the label becomes the one stop shop for anything to get the dance floor raving during the crescendo of the night.The sounds of Dirt, Lies &amp; Audio Black can be found on iTunes, Beatport, Juno and over 300 more sites.
Don't forget to like our Facebook page to keep updated on releases &amp; more!

 Fusing classic British guitar pop with Motown and Stax grooves..the missing link between the Arctic Monkeys and the golden age of doo-wop – The Guardian

The world is theirs for the seducing – Evening Standard

A talent for ska-inflected, hook-filled rock ¬– Sunday Times hottest download

Various Cruelties is the musical alias of the prodigiously talented Liam O’Donnell – a teenage Strokes fan with a sweetly soulful voice and a head full of classic soul standards, equally in thrall to the ‘New York cool’ of Richard Hell, Percy Sledge and Orange Juice.
Born in London to a Scottish father and an Irish mother, and a distant relative of Oscar Wilde, O’Donnell moved to Leeds at an early age where he spent his teenage years following the well-trodden ‘indie’ path - summer bank holidays at the Leeds festival and a record collection full of Verve and Stone Roses albums. Yet and early taste for the soul-classics made him realise musically there existed a world beyond. 

Moving to London, it proved a struggle to escape the the ‘singer-songwriter’ tag.  A booking at a Communion night in Brighton proved to be a turning point – realising he had no desire to tread the well-worn ‘troubadour’ path and inspired by recently supporting the Villagers, Liam decided to do what he wanted; ditch performing under his own name and, inspired by an Ed Ruscha exhibition, start working under the Various Cruelties tag.


info@grandpastan.com

East London Alt Pop Label & Management Co.  Representing Producers, Bands/Artists, Composers/ Arrangers, Supervision/Clearance.

Charlotte Church will self-release a series of 5 EP's over the next 12 - 18 Months.

ONE was released in October 2012 and TWO will be released on 04 March 2013 via Alligator Wine Records. 

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