For me, the best band to come out of the so-called garage revival of the late ‘90s and early ‘00s was New Zealand’s The Datsuns. Mainly because while they had a garage sound, they actually managed to be their own thing and not sound like some lame retro rip-off band.
While it’s been a long time coming, their latest release “Eye to Eye” is the band’s first record since 2016 and finds them in full flight. It’s also possibly their best release yet. Frontman and guitarist RUDOLF "DOLF" de BORST spoke to MATT RYAN about all things Datsuns, as well as his membewrship of Nicke Andersson's bands the Hellacopters and Imperial State Electric.
Iris Berry, the ageless and hypnotic Glittery Queen Of Thee Hollyweird Underground hipped me to this remarkable, marvellous, soulful, author-poet-novelist from Toldeo, Dan Denton, whose powerfully poignant debut novel, “$100-A-Week-Hotel”, is catching fire with everyone who has been yearning for a voice of truth to arrive in these ridiculously propagandized, fictitious times.
Denton's characters are all so sensitively illustrated, it almost feels you are bellied up to the bar with them. It is startling to read the modest words of a real person because most novels, books, and records, and even "hip-hop influenced murals" painted on the side of hipster trap juice businesses are generated by rich college grads from the gentrified Julian Casablancas or Miley Cyrus upper classes. All the media professionals promote falsehoods and stereotypes and bogus narratives from the elitist perspectives of the ruling class.
Denton is a hardworking laborer from the rustbucket factory wasteland of Northern Ohio, and shares a working class sensibility and world view with people like Wayne Kramer, Zack de la Rocha, Boots Riley and Hunter S.Thompson. He has become one of my very favorite writers, alongside Chris Hedges, Falling James, Caitlin Johnstone and Frankie Delmane.
Danny Kroha is best known as one-third of seminal Detroit garage punk band, The Gories, which he formed with fellow Detroit residents Mick Collins and Peggy O’Neill in the mid- 1980s. When The Gories’ rudimentary internal infrastructure eroded in the early ‘90s, Kroha moved on to a series of projects, most notably the more theatrically-bent Demolition Doll Rods.
In 2015, Kroha took a step sideways and back in time with his first solo record, “Angels Watch Over Me”, a collection of predominantly covers of old blues, folk and gospel recordings, laid down using an eclectic collection of DIY instruments. Initially reluctant to put the album out, Kroha has returned to the well for a follow-up, “Detroit Blues”, again mining the rich history of the American folk, blues and gospel songbook. Kroha joined PATRICK EMERY at the Bar from his hometown of Detroit to talk about the album.
You’ve spent your entire life in Detroit. What is about Detroit that keeps you there?
[Laughs] Once I saw this fortune teller and she was reading runes and Tarot cards and she said ‘Why do you still live in Detroit?’ She could tell I was doing something with music, maybe I might have mentioned it. She said ‘I’m seeing something in my cards, a place where you should move, that would be better for you and your musical career’.
I don’t know man, it’s just my home, for better or for worse. It’s an interesting place. Really hip places, like New York City, Portland, San Francisco, Los Angeles, are great to visit, but I don’t want to live in any of those places. I don’t like generally being a place that’s lousy with hipsters. I kind of like being the only one on the block!