Live From Los Angeles – Tairrie B. Photography: Chevy Metal, Conejo Valley Days, 14th of May, 2016

CM100CVD_TB2016When My Ruin frontwoman and wicked witch of the west coast Tairrie B. Murphy is not on stage or in the studio she’s busy conjuring rock magick behind the camera, shooting some of her favorite bands & musicians live in and around the city of angels. Check out her work in the gallery below.

Band: Chevy Metal
Venue: Conejo Valley Days, CA.
Date: 14th of May, 2016
All photos: © Tairrie B. Photography

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My Ruin guitarist Mick Murphy releases new Neanderthal EP ‘Live In The UK’ and shares video for ‘Murchdadhl’

Neanderthal Live In The UK by Tairrie B Photography
Photo: Tairrie B. Photography

The Master of Heaviosity, guitarist Mick Murphy (My Ruin, Chevy Metal, The Birds Of Satan, Teenage Time Killers) has released a new EP under his Neanderthal moniker.

Live In The UK was recorded live at Fleece & Firkin in Bristol, UK on the 21st of August, 2014 when Neanderthal played a blistering supporting set as part of My Ruin’s The Sacred Mood Tour.

Neanderthal’s live slots saw Murphy pulling double-duty on the herculean 2014 UK trek, alongside My Ruin friends and bandmates Luciano Ferrea on bass and Matt LeChevalier on drums.

The EP is available to download now for free via Neanderthal’s Bandcamp page.

Murphy has also edited and released a video for Live In The UK EP track “Murchdadhl” which you can watch below.

Be sure to check out our Neanderthal gallery, captured by My Ruin frontwoman, rapper and photographer Tairrie B. on the road in August 2014.

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Interview: Mick Murphy talks Teenage Time Killers

Mick Murphy by Travis Shinn crop
Mick Murphy (Photo: Travis Shinn)

Last week saw the release of Teenage Time Killers’ debut album, Greatest Hits Vol.1, surely the most eagerly anticipated release in the world of punk, rock and metal in 2015. It is an album the likes of which heavy music hasn’t seen for quite some time, assembling as it has an unrivaled line up of renowned musicians, all of whom have contributed their own unique talents to a collection of songs that is “the best punk-rock mixtape you’ve ever heard, threading a line through the music’s evolutionary edges, whilst expertly weaving together its common DNA.”

At the epicentre of this righteous rabble of rock’s finest is a quake-inducing triumvirate that have spent the best part of the last two years carving out the bedrock upon which the temple of Teenage Time Killers has been built; Reed Mullin (Corrosion Of Conformity), John Lousteau (chief engineer at Sudio 606) and of course guitarist and multi-instrumentalist Mick Murphy (My Ruin, The Birds Of Satan, Chevy Metal and Neanderthal.)

Here’s what Murphy, one of heavy music’s foremost practitioners of the six-string slinging art, had to say about the genesis of Teenage Time Killers, the writing and recording process, and the possibility of future releases bearing the band’s name…

Skin Back Alley: News of Teenage Time Killers seemed to slip out in the early days of the project and there was a lot of inaccurate information being circulated on the internet in particular. What IS the origin story of the group and how did you come to be involved in it?

=MM= Well, back in 2012, C.O.C. did their self titled record as a trio at 606. Great record, by the way. Probably one of my favourite of theirs. Anyway, my long time friend, John “Lou” Lousteau, who produces and engineers at 606, became close friends with Reed during that time and I guess they kicked around the idea of doing a hardcore EP made up of Reed’s songs and some punk covers with Jello Biafra singing one and Reed singing the rest. Months later, Lou brought this idea to me and asked if I wanted to play guitar on it and I basically said “Fuck yea, I wanna play guitar on it because Reed Mullin is one of my favourite drummers.”

Even after the news about the album started to spread, it seemed to take a little while for a record label and official release date to be confirmed. Was it tough finding the right home for the project?

We took our time with record labels and business side of things as we worked on the album. By the time we were ready to move forward, there were a few offers on the table. With all the well known people involved, there was interest right away.

Am I right in thinking that the essential core of the group is Reed Mullin of Corrosion Of Conformity, you and producer/engineer John “Lou” Lousteau? You guys were the trio who wrote the songs and pulled them together in the studio?

Yes, you are correct. We’re the core members of the group.

How did the writing process tend to work? Did you all bring in your own songs? Did you work on each other’s? Was it completely different for each one?

Once we got in the studio, things really took off. The musical chemistry between Reed, Lou and me was really natural because we all grew up on classic punk/metal/hardcore, we’re all from the south east and we all wanted to make a raw spontaneous album with a natural human feel to it. The music for the first 5 songs was finished really quickly with time to spare so in the heat of the excitement, I came up with 3 new songs on the spot so we worked those out and recorded them as well.

As Reed was leaving Los Angeles after that session, he had a chance meeting with Randy Blythe at LAX, he told him about the project and Randy said he wanted to sing a song. It just kept growing from there into a bunch of different guest singers and musicians from the punk and metal worlds including my wife/My Ruin vocalist Tairrie B Murphy (who’s actually the only female artist on the record).

At that point, we needed more songs, so another 606 session was booked, Reed brought more songs, I brought more songs, we did a couple tunes written by Reed’s pal Jonny Webber, one by Goatsnake guitarist, Greg Anderson, and we threw in some more covers. By the end we had 21 songs completed with 19 different singers.

Tairrie & Mick by Travis Shinn
Tairrie B. Murphy and Mick Murphy (Photo: Travis Shinn)

Were there any tracks that you feel are “yours” more than others? The bone-crushing “Crowned By The Light Of The Sun” feels like it has a real Mick Murphy vibe to it?

Haha. Thanks. The riffs in “Crowned…” are indeed mine. Like I said, Reed brought songs and I brought songs to the table so yea, I do feel certain ones are “more mine” than others to a certain degree but Reed, Lou and I all contributed to every song on the record. It was a team effort and we all produced it together.

And the music tracks were all laid down at the infamous Studio 606 on THAT Neve console?

Yes, I’d say about 95% of the music was recorded at 606 on the infamous Sound City console. The record was also mixed entirely at 606.

Were you concerned about giving the album a cohesive “sound”? With varying styles of music and so many different performers, the collection could become the world’s most killer hardcore mixtape?

I don’t think we were particularly concerned with cohesion so much. I think we wanted to see where the varying factors would take each song naturally. I think that makes for a dynamic work of songs and an interesting listen. Growing up, I loved making mix tapes, so this record is like a dream come true for me. It’s like making the ultimate mix tape and actually being a part of creating the songs!

How did the recording process work? Did you, Reed and Lou lay down the music first with vocalists recording later? The disparate geography of the guest vocalists presumably meant that their performances were recorded in many different locations?

Yes we did the main music tracks first and then Lou would send the session files where ever they needed to go. Dave recorded his bass parts at 606 with Lou and me. Some of the guest guitar tracks were done in Raleigh and some of the vocals were recorded at 606, some in NC and the rest all over the place according to where the singers live.

And how long did the writing and recording process take?

All in all, it took about 2 years to complete the project.

Speaking of the guest vocalists, what an incredible line up! As well as you, Lou and Reed, it strikes me that the pedigree of the performers on this one album is almost unprecedented. What was it like as a fellow musician to work with some of these titans from the punk, rock and metal scenes?

It is a surreal honour to be a part of something like this. It’s been awesome getting to collaborate with so many people that I admire.

Did you have any sense of being star struck by any of the people involved? Were there any of the artists who you were looking forward to working with in particular?

After living in Los Angeles for almost 20 years, I don’t really get star struck. I’m stoked about everyone involved with the project, famous or not. Some of the lesser known artists really shine and hold their own on this album. Everyone gave their best and helped to enhance the final product.

How were the guest artists decided upon? Did you guys have people in mind for each of the songs or write material with anyone already in mind?

Much like Reed’s chance meeting with Randy at LAX, it was all very serendipitous. Certain people just made sense for certain songs and nothing was forced where it didn’t fit. I wrote Tommy’s and Tairrie’s songs specifically for them to sing, Jello was set to sing his from the get go and Reed had the songs he wanted to sing himself. All the rest were pretty much decided after the music was recorded.

Mick & Tommy Victor - Photo by Tairrie B. Murphy
Mick Murphy and Tommy Victor (Photo: Tairrie B. Murphy)

A lot of the album’s contributors got together for a photo shoot at 606 earlier this year. What was the shoot like and was that the first time that so many of you had been together in the same place?

It was the first time a lot of us were meeting each other and it was cool. Like a rock n roll party in a killer recording studio with cameras. It was also the first time many of the people involved got to hear the entire record so there was a lot of excitement, good vibes and a sense that we had all accomplished something unique and rad.

Without taking anything away from his work on the album, in those earlier days was it frustrating to read headlines suggesting that Greatest Hits Vol.1 was essentially Dave Grohl’s project, or articles that only picked up on some of the other “marquee name” contributors?

Being excluded from press coverage after putting so much into TTK kinda sucks, but that’s how the media is unfortunately. Thankfully, more of the actual story is getting out there as things move along. With so many people involved, it’s difficult to get all the facts straight and names out there clearly, but it is finally moving in the right direction. Dave’s the most well known person involved so obviously the media is going to print his name first and foremost. He didn’t spearhead the project but he did play a substantial role. He played bass on over half the album and we used his studio for the majority of the recording. The “marquee names” will always get the most coverage when it comes to stuff like this but hopefully, they will also help draw more attention to the record so the lesser known artists can be heard by a wider audience.

I’ve heard rumours that you guys are getting a Teenage Time Killers live show together? Is that true? It’s highly likely to be the best live show on earth, but I imagine it’s a huge challenge in terms of co-ordinating everyone’s diaries?!

Plans are in the works but we’ll just have to wait and see with that. Hopefully live shows of some kind will happen. Fingers crossed.

Making the assumption that some of the contributors won’t be able to make the show, will those people who are there simply stand in for those who are M.I.A?

I guess we’ll have to feel that out as we move along and learn more. I really don’t know at this point. I don’t think we could get every single person together at the same time though, but who knows?

Were there any tracks worked up that didn’t make GHV1, and do have any idea at this stage as to whether there will be any more albums bearing the Teenage Time Killers name?

There are a few b sides that are available with the record on iTunes… some alternate versions with Reed singing and one extra track. As far as more records? If the opportunity arises to do more, I’m in for sure!

Mick ,Reed, John & Trenton Rogers By Travis Shinn
Mick Murphy, Trenton Rogers, Reed Mullin and John Lousteau (Photo: Travis Shinn)

Teenage Time Killers’ “Greatest Hits Vol.1” is available to buy now. Read the Skin Back Alley review of the LP here.

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Album Review: Neanderthal, ‘Rock Formation’ EP

Rock Formation EP coverArtist: Neanderthal
Album: Rock Formation EP
Our Verdict: 8/10
Release date: 17th July
Find it at: FREE via Bandcamp
Review by: Graeme Blackwell

“An EP of free-flowing, balls-to-the-wall instrumental rock and metal, made with a single-minded passion.”

“The main influence on Rock Formation was a desire to not hold back at all and do the record that represents exactly what I want to do, rules and genres be damned.” So says highly accomplished guitarist, bassist, drummer and producer Mick Murphy in recent interview with Skin Back Alley. And just like Yul Brynner says in Cecil B. DeMille’s 1956 movie The Ten Commandments: “So it shall be written. So it shall be done.”

For a number of years now Murphy has been recording and releasing albums and EPs under his Neanderthal moniker, the project providing him with a creative outlet all his own, beholden to nothing and no-one other than the multi-instrumentalist’s own intense passion for the music that he loves. From 2006’s Start A Fire With A Rock, through follow-up album Take The Ride and on to the EPs Grandes Canciones and Hangtime, Murphy has delivered an ever-evolving barrage of highly skilled and intensely thrilling instrumental rock music.

From first note to last, Rock Formation continues that tradition, proving to be a propulsive, free-flowing, balls-to-the-wall collection that can only help to galvanise Murphy’s position in the rock firmament. After all, there’s a reason the man placed 3rd in OC Weekly’s list of the 10 Best Metal Guitarists.

The spine-tingling, heavily-phased opening riff and mind-melting fret-board runs that feature throughout the brief running-time of opening track “Magnetizer” are the kind of jaw-dropping, ideas-led guitar music that you simply don’t come across very often in rock music today; accessible enough to move the heart and cerebral enough to fire the mind.

Following track “Now Hear This” demands the listener’s attention in both title and musical temperament. Murphy has never made a secret of the fact that he likes to explore more sophisticated rhythms and time changes, and one listen to the stuttering syncopation on offer here demonstrates how adept he is at doing so. The piece continues to build, bringing in some more of that gnarly phase and the sort of fluid soloing that will have six-string connoisseurs chomping at the bit. It’s even more mind-blowing when you stop to consider that Murphy has – like every other track here – played every instrument and produced, engineered, mixed and mastered the whole thing himself.

“Devilry” feels like more of a straightforward rock stomp, but soon takes a turn for the outer-limits with some unexpected tonal shifts and grin-inducing, hair-raising melodic leaps and bounds. Short and bitingly sweet, “Rat Race” is a nifty piece of sonic chicanery that sets up the next track beautifully. The longest piece here, “The Healer” occupies more doom-laden territory for its first minute or so, the likes of which Murphy has explored to such pulverising effect with perhaps his most well known outfit, My Ruin. However, the track ramps up the tempo over the following minutes and is, before long, in a heart-pounding, vein-busting full-on sprint for the finish line.

Fortunately the EP is not yet done, though, with both “Retrofit” and “Galactic Thrillride” yet to make their mark. Both are chock-full and brimming with passion, intensity, joy and the kind of bone-crunching, boundary-breaking genius that Murphy is known for deploying across the length and breadth of his musical output. With such a consistent ability to write and record at the highest possible levels of skill and musicianship, it is frankly mind-boggling that Murphy isn’t more widely heralded. But hell, those in the know will continue to bask in the glory of the man and his music.

Speaking to Skin Back Alley with the calm and rarefied air of surefire knowledge (rather than the kind of blinding ego too often seen in today’s music business), Mick Murphy perhaps sums up Rock Formation best himself: “[The EP] …has an adventurous spirit like the music I made in my youth. It’s the most musically dynamic and it has the best sound quality of any Neanderthal album so far. It’s a strong batch of unique songs and I’m really stoked about it.”

We’d be seriously hard-pressed to disagree.

Check out Neanderthal’s new video for Rock Formation track “Now Hear This” below, the clip paying homage to the old-school Southern California skateboard scene!

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Interview: My Ruin’s Mick Murphy talks Neanderthal, Heavy Seventies and guitar heroes!

Micky Murphy by Andy Watson (crop)
Mick Murphy – photo by Andy Watson

LA-based but Tennessee born and bred, guitarist, bassist, drummer and producer Mick Murphy may well be the hardest working gent in metal. Best known for his role as axe-slinger and musical mastermind of veteran metal band My Ruin, as well as being a key part of The Birds of Satan and Chevy Metal with Foo Fighters’ sticksman Taylor Hawkins and bassist Wiley Hodgden, Murphy has a busy six months ahead.

Tomorrow (July 17th) sees the release of his latest solo EP Rock Formation, released under Murphy’s own Neanderthal moniker (trust us, we’ve heard it, it’s killer!) He’s also soon to launch new covers band Heavy Seventies. Then at the end of July comes Greatest Hits Vol.1, the debut album by Teenage Time Killers, the star-studded punk, rock and metal project spearheaded by Corrosion Of Conformity’s Reed Mullin, Murphy and producer/engineer John “Lou” Lousteau.

Fortunately the good man found the time in his hectic schedule to talk to Skin Back Alley about that new solo EP, Heavy Seventies, his work ethic and the current state of guitar music.

SBA: July is set to be a busy month for you! You’re releasing your new EP from solo instrumental project Neanderthal, Rock Formation, you’ve started a new covers project called Heavy Seventies AND the 31st will see the highly anticipated release of Greatest Hits Vol.1, the debut album by Teenage Time Killers. How are you fitting it all in?!

=MM= Well, the new Neanderthal EP has been finished for about a month now and we completed the TTK album a long time ago so as far as those records are concerned, I’m just anxiously awaiting both of their releases. The main thing I’ve been doing recently is working out interpretations of ‘70s hard rock songs in the jamroom with Heavy Seventies. I’m having a lot of fun paying homage to some of my favourite songs of all time.

Having heard it, I’m happily telling everyone who will listen that Rock Formation is just stunning, so congrats – it’s killer! When and where did the tracks that make up Rock Formation come together?

Thanks. I worked on Rock Formation sporadically over the past 6 months or so. A little more than half the record is made up of brand new material and the rest is revamped/rearranged ideas that I’ve had for up to 25 years. I tracked the drums in the jamroom and I added the guitars and bass at home. I took my time and enjoyed every minute of the process.

What are some of the things that have influenced the writing of Rock Formation and how do you think it differs from your previous Neanderthal releases?

The main influence on Rock Formation was a desire to not hold back at all and do the record that represents exactly what I want to do, rules and genres be damned. As far as how it differs from my previous releases, I think they are all different from each other, but I will say that this one has an adventurous spirit like the music I made in my youth. It’s the most musically dynamic and it has the best sound quality of any Neanderthal album so far. It’s a strong batch of unique songs and I’m really stoked about it.

Rock Formation EP cover

And when you say Neanderthal is a solo project, it really is, isn’t it. You write the music yourself, you typically play guitar, bass and drums yourself, as well as producing and engineering the whole thing?

Yes, with Neanderthal I write all the music, I play the drums, bass and guitar and I do the engineering, editing, mixing and mastering as well as the video editing. I do everything. It’s basically a form of therapy for me. It’s a pure and personal creative outlet with complete musical freedom. Don’t get me wrong, I really enjoy writing and collaborating with others in all kinds of situations but sometimes I just need to indulge my musical urges on my own and that’s when I make a new Neanderthal record.

Can you see a time in the future when you might produce and engineer music for others? Is that a possible new string to the already well-stocked Mick Murphy bow?

I did just co-produce Tairrie’s new rap album with her which was a new experience for me. I welcomed the challenge of being creative in a different way. I was heavily involved in the engineering and mixing as well and I played some bass and guitar, but the classic west coast vibe of the album mostly called for heavy beats, so my main musical contribution was live drums. I’ve also produced some demos for other people throughout the years and I enjoyed that as well. It has to be the right situation for me though because I can’t put my heart into something that I’m just not feeling. Music is very personal to me.

Rock Formation is out on the 17th of July – your birthday that you share with Grover Jackson of GJ2 Guitars who made your Triple M signature model guitar and who you are rostered with. What’s it like having the support of such a renowned guitar maker, and how are you enjoying the Triple M having had a couple of years to get to know it?!

Grover’s support is a true honour. He has built guitars for many of my heroes including Randy Rhoads who is one of my biggest influences. The Triple M guitars are really nice. I couldn’t ask for a higher quality instrument. All of GJ2’s guitars are well built precision pieces of art. I truly appreciate the love they have shown me and I feel very fortunate to work with them. They make the best guitars you can get today.

Mick Murphy by Tour Bus Live com
Photo by Tour Bus

You played two full 20 minute sets of Neanderthal material on My Ruin’s most recent tour of the UK in 2014. What were those shows like for you and what was the reception on the part of the crowd like?

Those gigs were exciting and very satisfying. Luciano (Ferrea) and Matt (LeChevalier) were cool enough to work up a 6 song set with me the week prior to the tour and everything came together nicely. The crowds were enthusiastic and receptive and both shows were a real good time. We recorded while we were there as well and I plan to make that available as a Live In The U.K. free EP in the near future.

Given that you work so hard in different projects and bands (you’re also in My Ruin of course, as well as Birds of Satan and Chevy Metal) your work under the Neanderthal moniker intrigues me. How do you know when something is going to become a Neanderthal track and what does Neanderthal allow you to do as an artist that your other bands and projects don’t?

When I write songs for My Ruin, I have Tairrie’s vocal style, vision and the overall vibe of the band in mind so I steer things in that direction. The Birds Of Satan is Taylor’s vision. He’s the leader and main songwriter in that band so I work within the realm of what that entails. Neanderthal is my baby and like I said before, it allows me to freely express myself.

What influenced your decision to give your Neanderthal EPs away for free?

When My Ruin made A Southern Revelation available as a free download back in 2012, we didn’t know quite what to expect. With almost no marketing, it got so many downloads off our Bandcamp page that I’d be willing to bet that more people own ASR than many of the My Ruin records that were marketed and physically distributed worldwide through record labels. At this point, I feel that if you want to own and listen to my Neanderthal records then go for it. There is an option to “name your price” for those who like to pay for their music, but it is not required. When someone donates to the cause, that’s great and it’s really appreciated, but otherwise the music is absolutely free, in keeping with the complete musical freedom I was talking about.

You’ve recently started up a new covers band by the name of Heavy Seventies with Luciano Ferrea on bass and Mike Gryciuk on drums. The name suggests you’ll be focussing on classic heavy music from the decade that helped develop your love of rock?

That’s correct. We’re doing heavy’d up versions of stuff from the late ‘60s through the early ‘80s, which probably is my overall favourite era of music. Bands like Kiss, Aerosmith, Deep Purple, Black Sabbath, ZZ Top, Edgar Winter, Rick Derringer, Van Halen, Pentagram, Judas Priest, Cheap Trick, Jimi Hendrix, Rolling Stones and Jeff Beck.

Fans will know a little bit about Luciano Ferrea, as he’s played live with My Ruin on several of your previous tours. How did the idea for Heavy Seventies come together and how did you come to work with Mike Gryciuk?

Yes, Luciano rocks, and has been playing bass with My Ruin for a long time now. He and I have loosely kicked around the idea of starting a cover band for a while. My experience with Chevy Metal has showed me how much fun that can be, so we decided to go for it and we fired up Heavy Seventies. Mike G is a killer drummer, we’re having a great time jamming with him as well and the band is gelling very quickly. We’ve known Mike for a few years now through the L.A. music scene and he actually almost did the last My Ruin UK tour but had to have surgery on his wrist at the time, so he couldn’t do it.

Micky Murphy by Jesse Silva (crop)
Photo by Jesse Silva

And am I right in thinking that you’ll be handling vocal duties for Heavy Seventies – something that you haven’t done since your days in 90’s thrash-metal-punk hybrid band Movement?

Yeah, I’ve been getting my singing voice back in shape. I’m actually enjoying it. Didn’t really think I’d ever sing for a band again but doing covers is fun. I did sing with Tairrie on a couple covers My Ruin recorded on past My Ruin albums, but other than that I stopped singing all together for a long time.

Can we expect to see Heavy Seventies playing live any time soon? Will you be “launching” the band in any particular way?

We are doing a Rock And Roll Pizza gig in September as well as a Whisky show in October. More details will emerge in the coming weeks and more dates will be booked. I’m also starting a Heavy Seventies Bandcamp page where I plan to upload raw live rehearsal recordings of our versions of the tunes we’re doing, so people can get a sample.

And will you be recording any material together do you think, or will the band remain a live-only prospect?

We may do some more involved higher quality recordings in the future but for now I’m just taping us with a mini stereo digital recorder. It sounds pretty good.

How will Heavy Seventies’ focus differ from Chevy Metal, the classic rock covers band that you’re in with Foo Fighters’ Taylor Hawkins and bassist Wiley Hodgden?

We’re like Chevy Metal’s less melodic bastard cousin, haha. It is different from Chevy though, in that we’re focusing on the heavier side of old school rock and metal. There is no new wave or pop in the set at all. We’re also not doing any of the same songs that Chevy does, with the exception of Ace Frehley’s “Snow Blind”, because I sing that one.

You’ve had an obsession with the guitar from a very young age and have become a very accomplished musician. Your work rate is phenomenal and your talent is clear to anyone with ears. Do you ever feel that you would have liked a wider recognition as a guitarist at this point in your career?

In a word, yes, but it is what it is. Thanks for the kind words.

Slayer’s Kerry King recently said that he thought today’s rock music scene was lacking guitar heroes that up-and-coming players could aspire to be like. Do you think that kind of “guitar hero” status is still possible in today’s music business, and – with stellar players such as yourself around – is King just not looking hard enough?

As far as looking hard enough for the next guitar hero goes? There is so much noise on the internet now that the next EVH could fall through the cracks and be completely ignored. You can probably find 100 ridiculously talented guitar players out there, but no one really pays attention because they are so overwhelmed by the infinite amount of useless information instantly available at their fingertips. Rather than search out great new independent music or any other grass roots talent, the masses mindlessly scroll through goofy duck-face selfies on Instagram, smart assed shit talking posts on Twitter and videos of chicks beating the shit out of each other on Youtube.

Beck, Hendrix, Paige, Winter, Blackmore, Iommi, Derringer, Schenker, Frehley, Van Halen, Rhoads… 1966-1982 was the electric guitar golden era in my opinion. It probably won’t ever happen in such a massive way like that again and it’s a bummer. People were just more receptive to it back then so it flourished. Times have changed and unfortunately, guitar glory has faded.

Today’s entertainment scene in general, with the exception of a precious few, is lacking a lot more than guitar heroes. It’s a cliquey cheesy circus factory churning out overexposed bloated mega-stars, over-the-top narcissistic clowns and talent-less dead eyed pop culture “icons”, all acting ridiculous just to try and stay relevant while being over marketed through a bitchy lazy elitist media to a jaded desensitized mass audience. Idiots are treated like royalty and it’s gross. The appreciation for sincerity, creativity, originality and actual talent is dying out. It’s all about money, hype, controversy and shock value… mostly money.

For me, it’s simple. It’s all about music. It always has been. That’s what makes me feel alive.

You can DOWNLOAD Neadnerthal’s catalogue for FREE now via, including the new ROCK FORMATION EP upon its release on the 17th of July

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