Mad Painter seamlessly blends classic 70s rock nostalgia with a unique modern twist. With their upcoming single Debt Collector and their third album Island Poetry, the band continues to captivate fans of vintage heavy rock.
1. Your
upcoming single, Debt Collector, captures a distinct 1970s vibe. What inspired
you to embrace this nostalgic sound, and how do you infuse it with a modern
edge?
The
single’s already out on all streaming platforms, and on YouTube you can also find
the “live in the studio” version, as part of the “Music Alive North Shore” TV
show. I don’t really know what a ”modern edge” is these days. I had a pretty
good idea, say, between 1990 and 2010, before the music industry changed beyond
all recognition. And I tried my best to avoid it by all means possible. But Mad
Painter have been around since late 2015, and our look, sound and the stage
show have always been “retro”. It’s all original melodic heavy rock, classic
rock style. When you mentally compete with the greats of yesteryear, you wind
up with the sound similar to ours. Our bass player likes to say “My head’s in
1974”, but he goes back as far as 1967 on his influences. The band’s comprised
of six unique individuals with own personal tastes in music, but I think where
we all overlap is Deep Purple and Uriah Heep, which explains the patented Mad
Painter sound. I am proud to say, we do have our own sound that’s impossible to
mistake for anyone else, past or present.
2. Mad
Painter has been active since 2015. How has the band evolved musically since
its formation, and what milestones have shaped your journey so far?
When I
first started the project, it was a trio (keyboards, bass, drums), and over the
years the line-up has changed a few times. I’ve made a lot of mistakes along
the way, growing it from scratch, without a label, a manager or any other
system of support. For instance, our live debut was in October 2016 at MIT, and
it was just awful, even after months of guitarist auditions and regular practices.
I simply didn’t know what I was in for, and the lack of experience having my
own band definitely showed. There were a few times when I had to scrap the
whole thing and rebuild it from scratch, with a brand new team.
In 2016, we
released our first album, self-titled, and it had great songs but very
rudimentary, almost garage-like, production. It was a digital-only release, not
on physical media. It wasn’t until seven years later that we released Splashed,
a long-player of 17 tracks and a mixture of heavy rock and pop, all melodic,
well arranged and expertly produced. This one came out on CD, twice, in fact.
First on CD Baby and then on the Italian label Epictronic. Along with it we had
two singles and promo videos, which you can also find easily on YouTube, “Rock
and Roll Samurai” and “Illusion”. The
line-up’s been stable since early 2021, and that is when I felt things started
to really get off the ground. There’s great camaraderie within the band, as
well as musical chemistry. We are six unique individuals with our own
preferences, but if we didn’t have music or ethos in common it wouldn’t have
worked.
Over the
years we’ve played at various summer festivals, which is always fun, starting
with the Winter Tangle in the Poconos in January 2017, then Echo and another
Winter Tangle in Kingston in 2022. We do have a small “cult” following in
Boston, more like an extended family or circle of friends who dig each other’s
music, but when we play these open air fests, the atmosphere is totally
different. In Kingston, for instance, we got a rip-roaring reception, our bass
player instantly called it “Paintermania”.
3. The
lyrics for Debt Collector were written by poet Dmitry M. Epstein. How did this
collaboration come about, and what does Dmitry bring to the table as a
lyricist?
Dmitry
writes unusual and abstract lyrics, which I’ve not actually seen anyone else
out there capable of writing. His art is unique. When I read some of his poems,
I feel an instant connection and the melody in my mind is born instantly.
I believe
it all started with “I’ve Been A Fool” and “Illusion” (both on the Splashed
album). On these two, I came up with the melody first, as well as the general
“motif”.
Next came
“Samurai”, which was intended for someone else; it’s about a road-weary rock
veteran, a “warrior of yesteryear”, pondering his life’s path and current
posture. I just snagged it and wrote the music instantly.
And now six more pieces of his have been put to music and you’ll hear them on our upcoming album, Island Poetry.
4. The
Hammond organ straight through a Marshall amp is an unconventional choice. Can
you tell us about the decision to use this setup and the impact it has on the
song's character?
I once
heard that this is what Deep Purple’s Jon Lord did for the early albums like In
Rock and Fireball, and I decided to give it a go. A Hammond B3 can of course sound distorted and
menacing through a Leslie, but the Marshall amp gives it that extra growling
edge. It’s like Leslie’s evil twin. For an organist it’s also a mental shift,
albeit a temporary one. With Leslie you’re always tempted to try switching from
no spin to low speed and then to high speed rotation, which gives your sound
that classic “whirl” and shimmer. With the Marshall, it’s just straight up grit
and anger. I mean, listen to the solo on “Fireball”, it sounds extremely pissed
off!
Yet, Debt
Collector is not that kind of track (perhaps in the “anger” stakes, Stand Your
Ground wins hands down, just wait for the new album to hear it!) It’s more bluesy and laid back, as I modeled
it after another Purple classic, “Place In The Line”. But with more “showbiz”
pizzazz, courtesy of Julie and Sharon’s artistic backing vocals. And as the
lyrics are clearly tongue in cheek, it’s always reminded me of the Sensational
Alex Harvey Band. So it’s a mixture, which in a way makes it unique.
5. You
recorded Debt Collector at Tom Hamilton's studio in Peabody. What is it about
this studio and your relationship with Tom that keeps you coming back?
For one
thing, we’re both virgos, having been born on the same day in September, only
12 years apart. Which means we’re both perfectionists obsessed with minute
details. Ever since Kenne, our bassist, introduced us back in late 2020, we
just clicked and have been working together ever since. He knows exactly what
needs to be done when it comes to Painter, and I wouldn’t ever trust our songs
to anyone else. His production style, in our case at least (I can’t speak for
other bands he’s working with) is a throwback and a time capsule. He knows
exactly how to keep that “modern edge” off our records and give them an
authentic vintage sound. “Debt Collector”, for instance, really does sound like
Bob Ezrin (Alice Cooper) and Martin Birch (Deep Purple).
6. Your
influences include bands like Deep Purple, Nazareth, and Alice Cooper. What
elements of their music resonate most with Mad Painter, and how do you
incorporate them into your own sound?
In the case
of Deep Purple and Uriah Heep (and we’ve done quite a few Heep covers over the
years) it’s the pivotal interplay between the guitar and the Hammond organ.
There’s always that “competition” in the mix. It’s right there, up front. With
bands like Nazareth, Slade, Sweet and Status Quo, it’s the dynamics, the
atmosphere, and the “zeitgeist”, of “you had to be there” variety. If you think
back to the albums they released between 1973 and 1975, to me that’s like the
“Mount Rushmore” of classic rock. And the singles, too. I mean “Ballroom Blitz”
I first heard at the age of 11, and I still think it’s the best rock’n’roll
song ever written or recorded.
7. The
single has a tongue-in-cheek lyrical approach, reminiscent of the Sensational
Alex Harvey Band. How important is humor or satire in your songwriting?
Very. To
date, we’ve only written one political song, “Never Mind”, and it sounds almost
transatlantic, with the US and UK references peppered throughout in equal
measure. But the even more challenging aspect is to try and write lyrics which
would apply and be relevant and relatable 50 years ago. I believe we’ve
achieved that. On “Never Mind” I was just making fun of the type that goes with
the flow and believes all the usual mainstream media sources. And winds up
being fooled. “You may read the Guardian or Daily Mail, but either way all
facts are for sale, etc.” No, I don’t like self-quoting.
Something
like Debt Collector you can’t possibly take seriously. It’s like a deliberate
parody of a pimple faced teenager who wants to “try your heart on my door
opening technique”. I mean, the awkwardness is so to the fore, it’s comical.
8. Your
performances often feature a dynamic lineup, including vocals, keyboards,
backing vocals, and flute. How do these elements enhance the live experience
for your audience?
We have
quite a few what I’d call “jam tunes”. That’s when we all spread our wings and
stretch our musical muscles. On “Nektarized”, “Two Horsemen” and “I Am The
King” (all part of the upcoming album) there’s plenty of room for everyone to
play solos, guitar, Hammond, synths, piano, and yes, flute. Sharon’s our flute player.
9. Your
third album, Island Poetry, is set for release under the Italian label
Epictronic. How does signing with this label change the game for Mad Painter,
and what should fans expect from the album?
We used to
use digital distribution outlets and release our music “on the cheap”. What
this does is it buries our product beneath the endless wall of “white noise”.
No matter how unique we may think we are, there’s everyone else and their
grandma literally working on portable home studios and releasing “albums” on
Spotify straight from their bedrooms.
Epictronic
has been a game changer simply because there’s the extra promotional push
involved (Wormholedeath, its parent label, is reputable worldwide) and the much
needed distribution in markets like the EU and Japan. And it’s a CD release, so
we actually go through the process of conceptualizing and designing the front
and back covers as well as inserts, the old fashioned way.
10. Your
music primarily appeals to fans of classic blues-rock. How do you plan to reach
and engage a wider audience while staying true to your roots?
We really straddle several directions, so classic blues rock is only one of our facets, there’s a few more. Psychedelic rock, vintage prog, etc. I’ve not really thought about attracting a wider audience, it may be a futile pursuit if someone’s into Sleaford Mods and never heard of Status Quo or T.Rex, right? We’re universes apart. But I’ve noticed a strange, yet inevitable phenomenon in the last decade or two – people flocking to see tribute bands playing the music of Queen, Thin Lizzy, Deep Purple, AC/DC, you name it. And I’d love for us to get noticed by that crowd, cause I know that’s our ideal audience. We’re 99% original (1% covers), but that’s what gives us that edge over straight up tributers and copyists. We are influenced by a lot of different classic bands, but we’re not trying to copy anyone in particular.
11. With
Debt Collector serving as the second single from Island Poetry, what themes or
stories connect the tracks on the upcoming album?
Our
previous single and video, “Empty Bottles”, is about hopelessness and
isolation, yet it has a message of optimism, sort of pointing at that light at
the end of the tunnel. It’s there, but only if you care to notice. “Nektarized”
is a quasi-nonsensical stream of consciousness on the surface, but the lyrics
are stitched together from various song and album titles by the German-British
prog legends Nektar. The aforementioned “Stand Your Ground” is a leftover from
the band’s early years, 2017, when I tried my best to write a metal song in the
vein of the late Lemmy Kilmister, only imagining what he would sound like if he
were really mad. Treading carefully on that edge between tongue in cheek humour
and wrath! “I Am The King” is an existential and almost biblical tale,
influenced by the Italian troubadour Angelo Branduardi. It’s that dichotomy of
“I am eternal” vs. “I am nothing”. Sort of like the creator and His creation
rolled into one being. “Spin Your Ventilator” is one of Dmitry’s poems, which
just came together as a seemingly mindless AC/DC type headbanger. I won’t cover
the full album, want to leave some surprises intact for next year, which is
when it’s coming out.
12.
Finally, what do you hope listeners take away from Debt Collector and Mad
Painter's music as a whole? Are there particular emotions or experiences you
aim to evoke?
Yes, we’re
looking for our audiences to enjoy themselves and have a good time, whether
they’re listening in their living room or live at a club. Unlike any other
original band out there, safe for a few exceptions like The Lemon Twigs or
Magic Potion, we’re sort of sending a message into the universe, saying, hey,
if you’re head’s still in 1974, it’s OK, relax, we’ve got you covered. It
wasn’t OK back in the 80s or 90s, when the music industry had very stringent
rules and you HAD TO conform. But now it’s OK to be yourself again. If you want
to go back in time, grow your hair really long and don a pair of bell bottoms,
who’s stopping you? If you crave original rock in that same spirit – you’ve
come to the right place.
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