For over six years, fans have been direly awaiting the next release from rock ‘n’ roll icons Social Distortion. Hard Times and Nursery Rhymes is the seventh studio album from the Fullerton, CA, crew and has some significant differences from the past albums- for better or worse.

Most Social D albums are a veritable mix of rockabilly and punk, and this album is no exception. Those elements are there, but also has a touch of blues and old school classic rock involved (think Rolling Stones meets Johnny Cash, with maybe a touch of Bad Religion). The album is a touch more mellow and entirely more optimistic than their last album, scorning the general defiance of standard punk in favor of something a little deeper and a lot more emotional. Maybe it is a sign of singer/songwriter Mike Ness becoming a little more comfortable with himself over the years and the band growing older and, dare I say it, possibly jaded, but it lends something a little different to their sound.

The album opens with “Road Zombie,” a track that lends itself to their standard rockabilly sound. The next track, “California (Hustle and Flow)” is probably one of my all time favorite tracks EVER. It’s addictive with catchy lyrics and could be a tribute to the Stones, but it will definitely be put into rotation on my morning rock/metal playlist. Very impressive intro to a strong album, continuing through with more fantastic tracks, such as “Diamond in the Rough” and “ Machine Gun Blues.” They bring a little bit of the old punk rebellion back with these tracks, as well as a lot more of the old sound, before fading into “Bakersfield.”

While I cannot fathom why anyone would name a song after the terrible town of Bakersfield, CA (I was born and raised less than an hour from there and refuse to go back), it is almost worthy of classification as a rock ballad. “Far Side of Nowhere” is a lot more contemporary than a lot of the other tracks, before fading into a rendition of Hank William’s “Alone and Forsaken” with the typical Social D sound, albeit a little slower. This sets the stage for another slow song, “Writing on the Wall,” before turning the tables and cranking up the volume in “Can’t Take It With You” and “Still Alive.”

However you put it, the album is good. It’s really good. Older fans may not be so thrilled with the new direction that Ness is taking the band in, especially since he did produce the new album as well. It’s different, yes, but just as good as the older tracks. If you’re a new fan- congrats, you stumbled across a legendary rockabilly band with deep roots in the scene and a legacy they are proud to continue and change with the times as needed. If you’re a long term fan, take a step back and think about the first time you heard Social D blaring at 11, kicking your butt and giving you a taste of old fashioned rock-n-roll. Listen again, with some perspective (it has been 28 years since their first studio release) and be glad that they are stepping up their game and putting out an album that is different from their “usual” sound. Who knows- you might even like it.

Social Distortion is currently touring the US.

Track Listing:
01. Road Zombie
02. California (Hustle and Flow)
03. Gimme the Sweet and Lowdown
04. Diamond in the Rough
05. Machine Gun Blues
06. Bakersfield
07. Far Side of Nowhere
08. Alone and Forsaken
09. Writing on the Wall
10. Can’t Take it with You
11. Still Alive

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In the second half of my interview with Delphic‘s guitarist, the incredibly thoughtful Matt Cocksedge, we talk more about how album #2 is going to differ from their debut album Acolyte, and Matt tells me his personal philosophy on being a guitarist. We even chat about their Irish mates Two Door Cinema Club in my attempt to persuade them to come back and do a co-headlining tour in the States together next year. (Time will tell if I was successful…)

Part 1 of this interview can be accessed here.

Matt Cocksedge, Delphic: It’s very strange, being in a band and writing intensely personal stuff and then giving it to the public, and it’s not yours anymore, you know? It’s theirs. It’s there for them to interpret as they like, and it’s there for them to believe in or destroy. And you just kind of have to go with it. And it’s definitely difficult to get used to. Now we know a little more about what it’s about, we know how it goes and we’ve been there, and we know we’ve made a record and we can do it, we’ve got a bit more belief in ourselves and more of an idea of who we are and what we want to do. It’s an exciting time in Camp Delphic! We’re very much looking to the future. It’s very weird saying all this, having coming to tour America for the first time, it’s bizarre. It’s like, “Hi! We’re here supporting a band in America on our first tour, and we’re looking forward to writing our second album!” Considering our album only just came out…bizarre!
Mary Chang, PopWreckoning: It’s good! Maybe it’s my personal observation with how much music I get sent, but there’s seems an oversaturation of the new generation of bands coming out of Britain. And there’s no way NME, or Q, or anyone else can keep up with everyone. As a blogger I think you do get jaded because there are so many bands to assess. Do you feel that there’s pressure to come out with a second album quickly, because you worry you might get lost in the shuffle as new bands come up? Maybe you can tell me more about how the recording process is going for Delphic album #2.
MC: We’re doing bits and bobs in our studio [back in Manchester] and building up ideas, but we’re really approaching it differently than the first record. The first record was very much built up at our studio at home and was very layered and detailed. By the time we went to the [recording] studio, we knew basically how the songs were going to turn out and exactly what they would sound like and all that, whereas for this one, we kind of want to leave more to chance and be more open before we get to the studio. We want to play together more in the studio and then take it on a more natural band angle, rather than building it up in a studio environment. And yeah, there is definitely that feeling of pressure. You know, there isn’t that luxury that bands used to have of doing the first record, going on tour, maybe taking 18 months, 2 years to write, record, and release the second record. That time’s gone. The public’s attention span is so short, and that’s a good thing and a bad thing. It’s good because bands can’t get lazy. But it’s bad, it’s changed the way music is digested, it’s changed the way bands have to approach writing and touring. And their releases. And we’re kind of part of a generation of bands that needs to keep writing and recording and releasing and touring and writing and doing that to establish a fanbase, establish some sort of place within the whole thing. But for us personally, we just want to write the next album because we’ve got ideas and we’re inspired to do it, we want to get it out there. We don’t want to go on a holiday for 6 months, we don’t want to stop doing this and we don’t want to keep touring endlessly. We are very much like, “right, this is the first record, we achieved a certain amount [of success and fame] with that, but there’s so much more we want to do.” We don’t want to play the same songs for another year. And this is our first tour of the U.S., properly, and so where are we? We’re in September, 2010? Most of these songs were written like in 2008. Some of them were written at the end of 2007.
PW: So are we looking at a 2012 release then [for album #2]?
MC: Hopefully! I think, maybe sooner if we’re able to.
PW: I guess it depends on touring commitments and if you’re even home long enough to do anything.
MC: We’re excited, we have a lot of ideas and are really keen as soon we get back from America, we’ve got a few more gigs, got four or five gigs, but once that’s done, we’re straight into rehearsals for the second album. Straight into that. And we’re really…that’s the most exciting thing, we don’t want to stop. We’re doing something we really love doing. We’re not going to take it for granted. We want to just work on it and get better. We just can’t wait to, you know…as much fun as this has been in the United States, I don’t want to put that down, I’m just saying that we’re so excited to kind of see what happens next, and see where it takes us, and see where we go with it. We got into a band to write music and make albums, you know? And to be given the chance to do that is the most incredible thing. We feel incredibly lucky to be able to do it, and we want to do it to the best of our ability. And we’ll see how that goes. We’ll wait and see. [smiles]
PW: It should be interesting to see how this one turns out, with the different approach.
MC: Definitely, definitely!
PW: I know I’m definitely looking forward to it! And a lot of people are.

PW: Since I am a writer, I would like to know who in Delphic comes up with the song titles and who writes the lyrics?
MC: Emmm…the whole thing is a very collaborative process. Everything – music, lyrics, videos, art, all that stuff is very much the three of us. We won’t let anything through that not all three of us are behind, you know? It’s one of those things where everything we do is Delphic, it’s not “Matt from Delphic,” or James or Rick from Delphic. It’s the band. Well, magicians should never reveal their secrets, should they? [smiles]
PW: [laughs] I was just curious because every band has their own little story [on how they come up with lyrics]. The most unusual one I’ve heard is of White Lies, who came in second in the BBC Sound of 2009 poll. Bassist Charles Cave of White Lies writes the lyrics for guitarist Harry McVeigh to sing. Interesting, yet it must be weird singing about someone else’s experiences. Do you find when you’re writing lyrics it becomes an emotional thing? Because it’s been amazing to talk to other Delphic fans and hear what they’ve gotten out of your song lyrics. Different people get different things out of music. Coming from the writer’s perspective, I like to look at lyrics closely and interpret them. Are there any particular songs on the album that are especially personal to you?
MC: All of the songs are very personal to me. Definitely. And you know, it’s strange when you write something and then someone else is expressing it. And it’s also interesting, because you get the opportunity to see another interpretation of it almost immediately. I think a lot of what we wrote on the first album, lyrically, was open to interpretation, and purposely so. I mean, yeah, it’s personal, but I think one of the great things about music is that it’s your thing. We’ve written this album, but it’s your album. All of the experiences of listening to it, you’ll never share the same experiences that someone else has when they listen to the album. But that’s amazing, that it can be so personal. I like that people can read into things and take different things from it, and that’s fine. But there’s always going to be what it means to you, and it’s always going to be that personal thing. But certainly now I don’t think we want to impose that on the audience. We have a thing of what it means to us, but the audience…I wouldn’t want to say anyone’s interpretation of our music is wrong or inaccurate.
PW: Morrissey has been asked many times to explain, “what does this particular Smiths song mean?” and he has said, I don’t want to say what it means to me, because music means different things to different people.
MC: Definitely. I’d hate to destroy anyone’s idea of something. Someone could think one of our songs is a really romantic song, when actually it’s about trying to get away from someone. It’s like Sting…
PW: [laughs] Yes yes!
MC/PW: [at the same time] “Every Breath You Take”!
MC: Some people have that as a wedding song. And it’s a stalker song, you know? [both of us laugh] For that reason, it’s nice for people to have their own interpretation. And not be too clinical about it.

PW: So how long have you been playing guitar?
MC: Since I was about…hmmm…shit, I don’t remember. 14 or 15 maybe?
PW: Wow.
MC: When was OK Computer? Was that 1997 or 1999? [It was released in June 1997.]
PW: Not sure, it seems like so long ago now! When did you get into synths? Was that before Delphic?
MC: Me and Rick had always been messing around with synths. His dad built a synth once. His dad was always into cool music. [I don't know Rick Boardman's dad personally but from what I have heard about him, he is probably the coolest dad ever.]
PW: That is like the coolest thing, ever.
MC: He’s very cool, very cool. If you ever get to meet him, you’d like him.
PW: All I can say is, all of your families seem so cool. For example, James’s parents. How is it possible they let him move to Manchester and never made him move back home? [James Cook is from Chippenham, England, a town west of London, but moved to Manchester years ago for university.] My parents would have never let me do that.
MC: Oh, you should come over for a course. That’s what James did, he came up to Manchester for uni and just stayed here. And they were cool about it.
PW: But then he stayed. Forever! There’s never been a reason for him to go back?
MC: Manchester, it’s a better place than Chippenham. Not to slag off Chippenham, I have been to Chippenham, but Manchester is better than Chippenham.
PW: What’s Chippenham like?
MC: It’s a smallish town out in Wiltshire. Lots of countryside, there’s no scene there. Yeah, we were into synths, and he had a Juno 60 that we messed about with, and that was fun. But yeah, I was much more into guitars and effects pedals. I like synths but I’m one of those people who doesn’t really bother with algorithms. And chains and stuff like that. I like to sit down at a synth and fiddle about, and I let my ears guide me to the sound.
PW: So are Rick and James more of the technicians on that side of things?
MC: Very much, yeah yeah. They’ll talk about sound waves and I understand that stuff, but it doesn’t interest me. I don’t care about the calculations and the technical specifications of sound. I just care about the sound hitting me and expressing something. And that’s the way I operate. And I think it’s kind of good to have that in the band. Like those guys can get technical about it and then I can come in and say, “that just sounds like shit.” [laughs] “But it’s got this amazing sound wave function on it!” And it’s like, I’m not bothered.
PW: “It’s not doing a thing for me.”
MC: Yeah, “make it sound better.”
PW: Now is it because of their university backgrounds that they know all this stuff about synths?
MC: I dunno, maybe?
PW: Weren’t they studying music?
MC: Well, it wasn’t straight music. It was recording and popular music. I think they took something from that, but they just both researched the synth thing and really got into it. And that’s their area. I was quite happy to let them have that. It’s like, just let me buy effects pedals and I’m happy! That’s fine. And in the studio, it’s good to have an outside perspective on these kinds of things. I think it’s always important to have that objectivity. I’ve not spent 3 hours finely tuning a synth and I’m not involved in that side of things, so I can have that kind of objective view. And say, “look, I appreciate it, it’s a good sound, it’s got a lot of technical merit to it, but does it fit? Is it right? Does it work?” Sometimes it’s yes and sometimes it’s no. It goes both ways, like with the guitars. We’re each other’s critics and friends and compatriots, so it varies…I’ve left them to it, I’ve gotten more into it over time but…
PW: I know in the live setting you play synth, for example during most of “Doubt.”
MC: Yeah, on a couple of things. But it’s a functional thing. I just enjoy, like “Epherema,” that kind of tremolo-ey sound in that song, that was the result of me sitting in a room for 6 hours messing around with guitar effects and getting that right. And that’s what I love doing. And that works in that context. The last line of “Acolyte,” that’s more of a Rick and James kind of area, and that all happens together. Whatever makes the best song, and what sounds good.

PW: What I really love about Delphic is that you have this perfect marriage of good guitar riffs with good synth melodies. Great guitar bands have great guitar riffs, and then some of them try to introduce the synth into the mix and have trouble integrating them into their sound. It ends up becoming a plinky plonky thing in the background that does not belong. Or guitars are added to synth pop bands and the guitars sound out of place. Whereas you guys, you have everything integrated well. For example, “Halcyon” and the guitar solo. I’ve given this a lot of thought this year, I put the question out to people, if you had to be reincarnated as a part of a song, what would you be and why?
MC: If I had to be reincarnated as part of a song?
PW: Yeah, and it couldn’t be a whole song, it had to be one disparate part of a song. And I said your “Halcyon” guitar solo.
MC: Wow! I am very honored!
PW: With the runner-up of the guitar lines in the verse of “What You Know,” played by Sam Halliday of Two Door Cinema Club.
MC: I like Sam.
PW: Both of you are amazing guitarists.
MC: I think he’s better than me.
PW: You think?
MC: He’s good! Really good. [smiles]
PW: Don’t tell him that, because I saw that video of you guys in Australia and the band war. [And as Matt says, watch this video clip with a grain of salt.]
MC: Yeah… [laughs] They made us do that! We were just having a laugh and one of them said, “Delphic and Two Door war!” And it’s like, “oh no…” We’re real mates!
PW: They know you’re messing, surely.
MC: Yeah, but it’s like what we were saying earlier, about band rivalry and stuff like that. You don’t want it to cross over to anything that is actually serious in that way. We admire Two Door very much. We’re such a very different band to Two Door that there can’t be a rivalry, really. Who we appeal to in our kind of market is so different to theirs. There’s no rivalry there. We just think they’re great guys who write good songs. The rest of it is just banter. But yeah…it’s an interesting question, really, I’m going to have to give this some more thought.

PW: Having played guitar for so many years, was there one song that made you think, “yes, I’m definitely going to be a guitarist“?
MC: I don’t think there as a song that generally made me want to be a guitarist, but my favorite guitar solo of all time is what I’d probably want to be reincarnated as, it’s the solo for “Sympathy for the Devil” [Rolling Stones]. The sound is incredible, it just screams, it’s such a real, organic sound. It speaks to you. In terms of the actual line, the guitar solo, I just love the restraint. Is it Keith [Richards] doing that solo, or not?
PW: I would think so. Who else could it be?
MC: Right right, I just wanted to make sure. [smiles]
PW: Don’t worry, I won’t tell my best buds, the Rolling Stones. [laughs] ‘cos me and Mick are like this.
MC: “Sympathy for the Devil” is one of the greatest songs of all time, a 6-minute epic. He’s got x bars to do a solo in, and what does he do? He’s really minimal, like [mimics the guitar solo]. But my absolute favorite part of it, if I can be even more specific, is within the solo. There’s a part of the solo…you know, he does these really great parts that really scream at you, the amp sounds incredible. And there’s a bit where he goes “dum da dum dum” [really simple, bare part of the solo], and that’s it. You’ve got a solo for “Sympathy for the Devil.” And all you do is play a note like a child. Anybody could do it. But it’s just perfect. I think that’s what’s important about playing guitar. For me personally, it’s not an ego thing, it’s not a “look at me” kind of thing, I never ask for the solos, I never want solos in a song. I get all nervous!
PW: Really? I never would have figured you would feel that way.
MC: Yeah, I get really worried about it!
PW: Should I tell people not to look at you when you’re playing the solo in “Halcyon”? [laughs]
MC: We had to do Jools Holland. [You can watch the video below. Matt's amazing guitar solo starts in at 3.05.] Honestly, I was so scared for weeks before. Every night before I went to bed I would be playing it in my head. Honestly, so nervous. So I never ask for the solos. For me personally, playing guitar is adding to the track and just being part of the track, and if the best thing for the song is to play one note, then that’s just as valid as being Slash and having huge guitar solos going up and down the neck doing all the technical shit you want to do. For me, it’s about feeling and emotion and doing something different that fits into the song.
PW: Your guitar is beautiful, I think it’s gorgeous.
MC: Thank you!

PW: When I saw you at Roskilde, the lighting was amazing. Is your lighting guy, Squib Swain, with you on this tour?
MC: Sadly, no. Yeah, he’s brilliant.
PW: I hope when you come back next time he’ll come with you.
MC: So do we. It’ s really weird doing shows without him. He’s become such an integral part of our shows and what we do. We always like to try and do something interesting with the lights and audiovisual experience, it’s always kind of weird when Squib is not along. But we want him back, we miss him. He’s actually out with Two Door [in the UK] at the moment…
PW: [laughs] Really? What are you guys going to do if you tour the same time? Bidding war?
MC: He gets paid double! But if we’re playing together…
PW: Yeah, come back and do a co-headlining tour with them!
MC: That would be great, wouldn’t it? Really nice.
PW: Yes, I have been talking with new friends in Hong Kong, they all want you back.
MC: Oh really? Awww.
PW: They were all saying that it was the best day of their lives when you and Two Door played together back in August. I was thinking, your two bands need to come back together and tour as co-headliners in America so there aren’t any arguments.
MC: Yeah, no, I would happily support Two Door.
PW: No, I need to hear “Submission” and the only way I’d get that is if you headlined. Right?
MC: How’s this, we will support Two Door and still play “Submission.” I am more than happy to do that.
PW: Are you playing “Submission” on this tour?
MC: [looks mysterious] Maybe… [I laugh]. Yes. We were going to play it in Philly but we didn’t have time with all the stress before the gig, we had to cut back.
PW: The reason why that song is so special to me, after your album came out, we had the second largest recorded snowfall ever in Washington in February. At one point the snow had reached my height.
MC: No way.
PW: Yeah. And in order to get my car out, I had to keep shoveling the driveway, and I would measure different distances of snow cleared by how many times I heard “Submission” to finish that line of snow. I must have heard “Submission” 500 times. So it’s very special to me. That’s my little “Submission” story.
MC: Well, I’m glad we could be there for you in your time of need. [laughs]

PW: Well, thank you so much for your time. I really appreciate it.
MC: Thank you, cheers.

Thanks very much to Matt for an amazing interview and taking time out of his busy schedule to chat with me, and special thanks to Delphic’s management for arranging the interview.

Tour Dates
Oct 05 – Phoenix / Toronto*
Oct 07 – Newport Music Hall / Columbus*
Oct 08 – DC9 / Washington, DC^
Oct 11 – St. Andrews / Detroit*
Oct 12 – Metro / Chicago*
Oct 13 – Turner Hall / Milwaukee*
Oct 14 – First Avenue / Minneapolis*
Oct 21 – Popscene / San Francisco&
Oct 22 – Fox / Pomona, CA*
Oct 23 – Club Nokia / Los Angeles*
^ Delphic only
* supporting the Temper Trap
& with the Hundred in the Hands

Live photos in this review were from Roskilde Festival, taken by Mary Chang, July 2, 2010

Delphic: website | myspace | American Release Details of Delphic EP | Delphic’s Debut Album Streaming on Their MySpace | @ Trocadero, Philadelphia | Interview with: Matt Cocksedge of Delphic, Part 1

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How would you like to own the Rolling Stones catalog?
That’s right. We’re giving away a Rolling Stones CD catalog that consists of Exile on Main Street Remastered, Sticky Fingers, Some Girls, and Jump Back (Best Of).

To win, comment and tell us what your favorite Stones album is and why. We’ll pick a winner from the answers given on Friday, June 18 at 12 p.m. CDT. You must be a US resident to enter (sorry, international readers!).

The Rolling Stones just released their second promotional video from un-released Exile on Main Street material. Be sure to check out “Following the River,” an amazing, vintage style animated story that follows the journey of the Mississippi River from source to end.
“Following the River”

And don’t forget, you can buy the newly reissued Exile on Main Street on Amazon here or Itunes here.

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Getting together with friends is important: you can catch up, re-acquaint over times gone by, and create new memories. A good split-disc functions in much the same way. Two bands come together to share a common space and, hopefully, create some pretty memorable sounds.

The Sanderlings and The Dashburns have now entered into this familiar territory with the aptly titled The Sanderlings/The Dashburns. Friends for years, the two bands lend three songs each to this split-disc released by Ark Royal Records.

On the disc and at live shows the Sanderlings occupy the Beatles/Apples in Stereo role while the Dashburns fulfill the Rolling Stones/Grifters part—music that utilizes harmonies and  intricate song craft and music that is propelled by energy and rhythm.

The first three tracks belong to the Sanderlings. They open with “Oh Darlin” and “Chicken Pox.” “Oh Darlin” is the poppier of the two while “Chicken Pox” comes through with an epic, tango feel. Both showcase the band rocking through tightly crafted songs with the voices of Josh Evans and Ben Masters skillfully working around lyrics that are at times reminiscent of They Might Be Giants.

The stand out track is “Reptoids.” It opens with a raucous riff and then expounds on the theme of strange reptilian creatures that may or may not control the world. With tight harmonies and lyrical content it is a polished rock ‘n roll spin.

The Dashburns portion of the disc starts with “Second Coming.” The guitars are distorted, creating a layered effect that draws on the sound of Spacemen 3. The vocals are more often screamed than sang, imbuing shoegaze-y songs with the power of the Stooges.

“Scrimshaw” may be the best song for that reason alone; however on “The Wheel” the band goes on a different tangent. They blend two parts of varying tempo to create a solid contrast. The whole thing leads into a closing jam with each band member producing tightly syncopated parts that bring the disc to finish.

Track Listing:
1. Second Coming
2. Scrimshaw
3. Wheel
4. Oh Darlin
5. Chicken Pox
6. Reptoids

The Sanderlings: myspace
The Dashburns: myspace

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