Monthly Archives: September 2015

Huntertones get Respect


Sometimes the more you say about a band, the less you say. When it comes to Huntertones, this is clearly the case. Yes, they’ve got backstories and resumes. Yes, they’re from this place or that place. Yes, you can describe them in a genre. But all these things are irrelevant because the only thing that truly matters is that they make absolutely fantastic music.

Whatever the style, it’s the quality of the music and the artistic integrity and talent that matter, and in the case of this fearless fivesome, it’s all that matters. Huntertones make great, timeless music that everybody will groove to. They’re original. They’re inspired. And they’re motivated. The result is a truly great album.

So don’t check them out because they play a style of music you like. You’ll like Huntertones no matter what kind of music you’re into. The flipside to that is that people won’t check out a band if they don’t think they’ll like the genre, so we’re not going to even tell you that. All we’re going to tell you is that you’ll like their music. You will, trust us.

And don’t check them out because they’ve teamed up with this person or that person. It doesn’t matter who they’ve teamed up with. It’s the music that matters, not the affiliated roster. Check them out because they, themselves, are good. Them. Not their friends or past collaborators. Huntertones do not need to drop names to get respect, they earn it all on their own.

The only valid reason we can give you to check out Huntertones is that we love them, and we know you will, too. We love them for the music they make and who they are as artists. Everything else we could say would just dilute and take away from that. So that’s all we’re going to say.

Check out HIGHBEAMS Everything Aside


Here at RUST Magazine, we have a pretty cool backstory with Stephen Quinn, and brothers Adam and Ian Pendlington of the folk-rock group HIGHBEAMS. In a world where media is pushed and pushed and music journalists can feel like sore losers in a game of dodgeball vs 1, we actually heard about this band from a reader who messaged us and told us we absolutely had to check them out. That meant a lot because it was an authentic and enthusiastic fan who thought the world needed to know about this cool group.

And check them out we did. Their likeable, upbeat songs got us curious and we set up a session shoot with them in rural Ball Ground, Georgia which turned out to be a lot of fun. We ran a power cord from a car generator and set up in the loading dock behind an old abandoned car dealership and filmed some performances (see them on our YouTube channel), and then we caught the perfect light in a field of dry grass for some great photos. Oh, and just for the record, before everyone sees the new Tom Cruise movie filmed in Ball Ground – we did it first!


After that we invited them to perform at one of our showcase events at the Hard Rock Cafe in Atlanta, where they played some fresh material which is now part of their new, second album Everything Aside. This album sees the trio more comfortable with the recording process and there’s a real polish and shine to what they’ve done with their new music. It’s classy. It’s complex. It’s also original, heartfelt music from a young, motivated group of artists. Everything Aside is a break through album for HIGHBEAMS because it’s world-class. They’re on the world stage now and their new album shows that they’ve got what it takes to make it anywhere.

HIGHBEAMS are a band with a deep talent, a fun attitude and a fresh perspective, and Everything Aside sees them on a whole new level as writers and performers – good job guys! RUST Magazine recommends that y’all give them a listen and check them out at one of their live shows asap.


Blobfish Killer EP


We’ve been getting some outrageous music here at the RUST Magazine offices from France for a couple years now, and there’s an amazing hard rock scene happening there that been getting hotter and hotter. But it’s been difficult to communicate exactly what is going on because we have translation issues (because we speak American around here) and much of the stuff we get has no information with it, either in the cd’s or online. So there’s a lot of mystery to what’s happening several thousand miles away, except that we’re hearing one great album after another from stylish, fresh heavy bands like Marseilles’ Blobfish Killer whose 3-song debut EP is the most exciting 12 minutes if music we’ve heard this year.

Somewhere in the death-punk space, Blobfish Killer hits hard, with smartness. There’s a fantastic organization to their music and the tempo is just right to savor all the details. They keep it original throughout and showcase the intelligence, production quality and dramatic style that defines the new French wave sound.

So, yeah, Blobfish Killer just made it official – the hottest music scene right now is the hard rock scene in France. But don’t just take our word for it, you can get the new EP for ‘name your price’ and hear for yourself.

Archi Deep and the Monkeyshakers #3


If you had to guess where Archi Deep and the Monkeyshakers were from, you’d probably pick Detroit because of the tough, sawtooth guitar style. Or maybe their no-nonsense attitude would have you thinking they were from one of the big steel industrial cities like Pittsburgh or Youngstown. They also have a psychedelic edge and a boastful style, so you might think they were fueled with west coast weed and ‘shrooms. But this all-American sounding bar-room brawling band hails from Oleron, France where there is a red-hot hard rock scene happening, unbeknownst to most stateside listeners.

Seriously, the heavy rock scene in France is light years away from the US scene. Bands like Archi Deep and the Monkeyshakers are coming across with a really clear production style, a tight, tough sound and a confident style that all combine into fresh, outrageous, original music. Here at RUST Magazine we’ve been covering the EU scene, which was deep into Post Rock a few years ago, and now it looks like the pendulum has swung back from the bands making those extended, languid jams to the current rock-in-your-face sound of folks like Archi Deep and the Monkeyshakers.

Take a band with a punk rock disregard for convention, throw them into the middle of a bottle-bashing bar-room free for all, turn it up to eleven and you’ve got Archi Deep and the Monkeyshakers. RUST Magazine enthusiastically recommends their new album #3 and we encourage folks to check them – and the crazy scene in France – right now. If you’re looking for tough, roots jams from an original band that doesn’t compromise, you just found them.

Hillary Bratton talks about her New Album

Tears On My Pillow But The Rest Of The Bed’s OK is the new album from rock-pop artist Hillary Bratton and it’s a strong and unique album that showcases an artist with a powerful voice and an equally powerful dedication to creative excellence. But there’s more. There’s a story behind this album. There are artists with a mutual appreciation colliding and exploding in vibrance and intensity here. There’s generations of perspective playing off each other and the result is superb.

In a nutshell, Hillary Bratton’s life changed the night she heard Marianne Faithfull perform “Guilt” and realized that it was written by Barry Reynolds, a composer she was already familiar with, and it was the birth of an idea to make an album of Barry’s music. After recruiting an all-star team of producers and performers for Tears On My Pillow But The Rest Of The Bed’s OK, and after sessions in LA and NYC, the final album is a stellar coincidence of great writing, intimate performances and dedicated musicianship. The music is intelligent, passionate and touching. This is one of those albums that stands out and demands to be heard on it’s own terms. In fact, we were so curious about the story behind this album that we reached out to Hillary to tell us more:


RUST: Thanks for talking to us Hillary. To get started, can you tell us what it is about Barry Reynolds’ music that touches you personally?

HB:  I can wax poetic on this because I think his songs are amazing. Gorgeous melodies; unexpected, interesting chord changes and sophisticated lyrics. I’ve always thought of his songs as edgy, elegant and sexy.

RUST: The song “Guilt” was the starting point for this album, what is it about this particular song that inspired you so much?

HB: It was more the fact that I was able to recognize his songwriting right off the bat, but it’s an incredible song – it’s lean and sparse but packs a punch.  It gives voice to a lot of dark, conflicting feelings. I had grown familiar with his work from Marianne and Grace Jones’s albums (I was working at Island Records at the time). I had never heard Guilt, but when Marianne started singing it, I knew that Barry had to have written it. I made it my mission after that to meet him and work with him.

RUST: We recently covered Melanie Bell’s project to re-record her late father’s (Barry W. Bailey) music, and we see a lot of conceptual similarities between your projects. Do you think that artists right now are yearning to preserve music that they might see as fading from the public awareness?

HB: I’ve been in love with Barry’s songs for so long, I just wanted other people to hear them.  I think of them as modern standards.   I could sing these songs forever and always find something a little different in them and I think people always want to hear great melodies – which I think are few and far between these days.  Even with rap music, it’s always the sampled, melodic hook that keeps you going and makes you want to hear the rest of the song.  

RUST: Did you have trouble convincing other people to join you in this or were they enthusiastic right from the start?

HB:  It took a couple years from start to finish.  It started as a 7 song EP that I was going to do with Anton. I knew Anton from my NY days, and we’ve always kept in touch. I always loved his music with the Palominos and the work he’s produced for other artist and it was a dream for me to work with him.  I thought Barry’s songs with Anton producing was just a brilliant idea.  Anton brought the musicians, so it was no convincing on my part. After that, it kind of took on a life of its own.

RUST: You had some amazing people play with you here, can you tell us a little about some of them and what they thought about being involved?

HB: Both Anton and Tony know incredible musicians – it was really all them. I was in the studio for the basic tracks so I got to see him and Grey McMurray play.   But I wasn’t there for Tony Scherr, Irwin Fisch or Larry Salesman (sadly) or any of the other great musicians that Anton had rounded up.    

For the LA songs, I met Bob Clearmountain through my husband, Martin Kloiber. Martin works at Avid and was working with Bob’s wife Betty Bennett who runs Apogee.  Bob was kind enough to offer mixing a few of the songs that Anton produced.  After we did that first batch, I wanted to record more and he suggested working with Tony Berg. Tony liked it and produced the other four songs.   Tony knows EVERYBODY, so he was responsible for bringing in people like Patrick Warren, Sebastian Steinberg and Michael Urbano.

RUST: What about you, were you surprised to be joined by such illustrious people?

HB: I don’t know if surprised is the right word. Tickled pink and intimidated are more like it.

RUST: The album comes out soon, are you nervous? Excited? Impatient? All of the above?

HB: Nervous and excited. it’s kind of a nice time right now knowing that something is coming down the pike and I don’t have any control over it – and nobody has kicked it to the curb yet.

RUST: Thanks Hillary, last question, is there a particular song or album from Barry that isn’t on the album that readers should check out?

HB: Barry asked me to give a shout-out to “Bridge Over Troubled Water” if I had a chance… I’d recommend the album that he produced and played on for Baaba Maal “Television” and the song ‘Dakar Moon’ is one of my favorites.

Tears On My Pillow But The Rest Of The Bed’s OK is now available to pre-order on iTunes and will be available everywhere October 2nd.