Thanks to super fan Richard Head, the video for Never Another Sunset has finally reappeared on YouTube.
Hello, its been a while.
I thought I would bring to your attention that The Rose’s gig at Zeche, Bochum, Germany on 25.01.1987 has been upload to the Dark Circle Blog. If you are into 80′s Goth this site should be a regular destination.
More info and download here.
Hey Rose fans, check out this new cover of Velveteen by Carnival Star. ProducerMark is behind the project, and he’s a huge supporter of the Rose, regularly playing them on his Indie Show - I recommend you check it out.
Taken from the “Era Sessions EP” – Velveteen is one of five covers featuring 5 bands and 5 albums from the late 70′s and early 80′s.
The EP features vocalists and musicians from various countries. Released as a tribute to those bands and musicians who remain a strong influence in the music of others around the world.
“Just heard Carnival Star’s cover of one of my old songs. At first I thought it was the fucking original…”
“Carnival Star’s version of Velveteen evoked an epoch of good memories that I had almost forgotten… The song was born from one of my simple chord sequence that was meant to go round and round and hypnotise the listener. Live it grew to become a real corker!
Cheers Carnival Star for the trip!”
Paul James Berry 2014
Founder & Guitarist – The Rose of Avalanche
The “Era Sessions EP” was recorded in various countries around the world with various musicians taking part during a five month period.
Scotland, England, Italy, Norway & USA to be exact.
The original concept behind recording these covers was simply for entertainment and to take a break from the recording and writing of the original album material for future release.
However, it soon became clear that the fun was producing some interesting results and that these tracks should go out for free as a tribute to the bands that many of us in Carnival Star regard as influences and inspirations to all of our music.
Staying true to the arrangements of the originals, our aim was to simply take the tracks and produce an EP that we enjoyed making and performing.
Released 11 May 2014
Recorded in Scotland, England, Italy, Norway & USA
- Union City Blue (Blondie Cover) – Vocals Allegra Lusini – Written by Nigel Harrison / Debbie Harry
- Velveteen (Rose of Avalanche Cover) – Vocals ProducerMark – Written by Paul J. Berry / Glenn Schultz / Philip Morris
- Walk Away (Sisters of Mercy Cover) – Vocals Liquid Grey – Written by Andrew Eldritch / Wayne Hussey
- The Drowning Man (The Cure Cover) – Vocals Zach Wiser (The Secret Post) – Written by Laurence Tolhurst / Robert Smith / Simon Gallup
- What Difference Does It Make (The Smiths Cover) – Vocals Captain T (The Sovran) – Written by Johnny Marr / Morrissey
- Bonus Track – UCB Cruel Brit Mix – Vocals Allegra Lusini – Written by Nigel Harrison / Debbie Harry – Re-mixed by Cruel Britannia
Music recorded and performed by ProducerMark
Co-produced by Liquid Grey
Remote Engineered by Cruel Britannia
Vocals recorded on location by the performers
Load up for ROA karaoke!
Scans of various press coverage
Scans of various press coverage.
Transcript of an unidentified interview, circa Always There single.
“Touring with The Mission was good for us” nods singer Phil Morris. “The sort of people that will go and see The Mission may never have heard of us but will go for us anyway ’cause we’re a similar sort of band”
So they wear sunglasses after dark?
“Uh, I have done” Phil admits Don’t people laugh? “Uh, only ’cause theres never any sun” Glenn replies. A sense of humour is present, folded neatly on top of an innocence which doesn’t even suspect the ugliness The Rose of Avalanche might have come up against if they hadn’t timed their arrival with the second coming of Led Zep.
“It seems to me The Cult started doing things they wanted to do instead of doing music for an indie scene or goths or whatever”
Fair enough and , thankfully, ROA don’t sound much like the heavy bone crushing dinosaurs they idolise. Always There is a romantically catchy guitar tingling single.
“I think I’m a romantic at heart, and my best songs are about women and all the business. Always There is saying to my girlfriend, even if she died she would always be there and be my friend and all that crap”
Everybody wants to be super human, and thats why rock ‘n’ roll bands that have that escapism element do well” says guitarist Glenn Shultz.
“You’re living out other peoples fantasies. I don’t think people often actually have casual sex… I can’t imagine anybody just having sex with someone they didn’t like! It seems pointless somehow”
“It might to you” Phil splutters, “but…”
Glenn “Okay, I’ve got it sussed now. I think romance is a byproduct of sex. If you have sex with somebody more than a few times you’re going to start liking them”
Sweetness aside, these boys have their eyes fixed on American, on the charts, on the major league. The new single’s b-side is the Doors Waiting For The Sun and the complexity of the song thrills them. “I don’t think it hurts being associated with The Doors or any classic rock band from the Sixties. I think what’s gonna happen soon is people are going to start listening to all these older bands, even further back like Cream. I think its coming back to the stage where being a good musician means you play really well.
Transcript of an unidentified interview, from The Mission World Crusade period.
Andy Liddell and Martin Goodier meet The Rose of Avalanche.
I fell in love with LA Rain, an addictive epic steeped in sleaze a long while ago, and its three equally powerful (and varied) successors greatly enhanced my opinion; from the (apparently) unlikely setting of Leeds had arrived a rock ‘n’ roll band with a pop sensibility and a classic trash attitude – The Rose of Avalanche music revels in the gutter while staring eagerly upwards into the stars.
“They’re the ones with the water pistols” we were informed upon arrival, and after narrowly avoiding being caught in the crossfire we adjourn to Rock City’s toilets so the band can reload and we can ask them where their name came from; “We made it up from a few different names we had and were bandying around; we wanted something powerful yet beautiful”, a name applying equally well to the rush of Goddess or the luscious Velveteen, a good name.
It might have been a good career move for the boys to have been born in Detroit, or somewhere American like that it certainly helps lend any trashy rock ‘n’ roll band credibility, but how does Leeds rate in the sleaze stakes?
“It depends who you hang around with! Leeds may not look a sleazy as all that but there are groups of people who are very sleazy…I was one of them once, but no more. You can’t live like that ‘cos you just become a thief, a liar, and a junkie.”
So are your lyrics based on personal experience?
“Yeah mostly, there’s only one song I made up and that was LA Rain, and I when wrote that I had some friends in Leeds who that could have easily happened to. The songs are personal to me, they don’t make statements like ‘You should do this because its good’ I just say what I feel”
What about the fake ‘Detroit drawl’ you use on stage?
“I don’t do the accent anymore, people took it too seriously – yeah, I thought it was hilarious, and it created a nice thing with the audience…Phil would walk on and drawl ‘Hi, there’ and people used to shout ‘you’re from Leeds you bastards’ so he would say (adopts classic Yorkshire accent) ‘get us pint of bitter then’
The Rose of Avalanche’s music is all about the rock ‘n’ roll lifestyle, something that tonights headliners The Mission seem intent on bringing back into style, so tell us about sex ‘n’ drugs ‘n’ rock ‘n’ roll…
“Not much sex on this tour, very occasionally I’m afraid, but we’re trying!! I think we’ve been worse than The Mission so far though, we’ve got the drinking down to a fine art now, whereas when we went over to Germany we were just drunk all the time time – what ever we asked for they gave us! The Mission try to get their dressing room as far from ours as possible. Before we actually go on we don’t drink a lot, you can’t really get that drunk before you go on (although we have a few times), but afterwards we’ve got to wait for The Mission to play and the gear to get packed up so its nice to sit down relax and get nicely smashed”
The band may still be somewhat static on stage (not to mention the lead guitarists appalling haircut) , but the songs are magnificent, which is why The Rose of Avalanche are so unremittingly wonderful. With interest from major labels, and a growing (and diverse) following the future looks, ahem, rosy; “The Mission got into the charts” said Phil “so I can’t see why we can’t” …
Neither can I, why “Stay With Me” charted and “LA Rain” didn’t is as much of mystery as whether LA stands for Leeds Area (we forgot to ask).
Transcript of an unidentified press interview, dated by a gig reference in the copy to 7th November 1986
Text: Karen Sweeney
Trying to get more than three words out of Phil Morris, singer with The Rose of Avalanche, is like trying to get blood from a stone. It could be due to the fact they have just arrived, and, as yet, had time for a drink, but he just does not seem keen on talking.
“The main mistake people make is thinking we got our name from The Sisters of Mercy’s drum machine, Doktor Avalanche” he explains in the longest sentence I mange to get out of him. “We had the idea Rose something, then avalanche something, and eventually decided on The Rose of Avalanche. It describes us perfectly. Beautiful but heavy.”
Four years ago Phil and Paul Berry met, and discovering a mutual love of the Velvet Underground, starting playing together. By April 1984 two others, Alan on bass and guitarist Glenn, had been drafted in. With the release of ‘LA Rain’ as their first single Rose secured a session for John Peel.
“John Peel really like us, and gave LA Rain a lot of airtime. But when we released ‘Goddess’ he hated it.”
Not that they were bothered. The reviews were in the same vein as the ones for LA Rain (which had been described as the “bleak storm that Eldritch never weathered, but probably dreams of”) It also grabbed Janice Long’s attention.
“We were lucky. It got us a session for her show, and airplay for Goddess. When we released Too Many Castles In The Sky she still loved us”
From starting with a drum machine it was automatic they would be compared to The Sisters, although live they are more rock and roll than the Sisters ever were. They toured as support to Balaam and the Angel across Europe before losing Alan Davies, and gaining Nicole Beresford on bass and Mark Thompson on drums.
“They were both in Leeds band ‘Family Dog’. We took Mark first, then persuaded Nicole to join us.
Our musical influences are very much alike, and based firmly in the late ’60s and early ’70s in West Coast America. The American drawl I adopt on stage is intentional. Its all part of the entertainment.”
Their taste is conventional – The Beatles, Jimi Hendrix, and The Doors. They even cover The Doors “Waiting For The Sun” and they don’t do it much damage.
“At the moment we are looking for a major label. Not just any one. We want to control ourselves, not just be another manufactured band. We had a few problems with the first label we were on LiL. They told us if anything better came along they would release us but when it actually happened they tried to hold us to four singles and two albums. They even released a compilation of all of our tracks called “First Avalanche”. We didn’t even know about it until we saw it in a shop.
“We are finding this tour strange, in the sense that we are playing in front of larger crowds than we are used to. Generally we get a good reception. Last night at Coasters though the crowd we just standing, there was little reaction until someone threw a pint at me. The glass seemed to fly vertically across the crowd and tip up only as it reached me. The glass didn’t hit me, only the lager. It gave me a real shock, so I started shouting abuse at the audience. That got them going. After the show this guy came over and said “Hey you were fucking brilliant. Best band I’ve seen in ages. By the way I threw the lager at you.” Then he flew off before I could go for him”
As the rest of the band join us the conversation gets sillier with a lot of private jokes.
“Do you like hamsters?” asks Glenn. “Someone here doesn’t”
I get the feeling that someone is Mark.
“I used to drill holes in bits of metal” offers Phil
“And I was an artist” explains Paul.
“Rubbish. You were a painter” retorts Phil.
“I was a hairdresser, but don’t put that down” says Mark eating a handful of peanuts. “Put down I was a lorry driver, cause thats cool. One of The Mission used to be a lorry driver too”
“Put down we are a deprived band with not enough riders. We definitely need more riders” announces a voice in the background “Yeah more riders and much more drink”
Transcript of an unidentified press interview, around the Always There single release.
by Jerry Smith
The Rose of Avalanche – now there’s a name to conjure with, and an apt one too, for a band who combine raw power with a rare beauty in their bold, atmospheric sound, and admit to being romantics at heart!
This admission comes from lanky frontman Phillip Morris, whose predominantly black dress sense and mirror shades belies the colourful and moody flavour of the Rose’s music, and is not the sort of statement you would associate with wild rock ‘n’ roll, but then The Rose of Avalanche are no ordinary band, which accounts for their steady and stealthy rise into the big time.
Formed in Leeds, they made their mark in 1985 with their very first single , the magnificent LA Rain and recorded a John Peel session, all before ever playing a live date.
Now, five singles later and they have broken into the Gallup Top 100 with their latest, Always There on burgeoning indie Fire Records., and are preparing to record what will be their first proper album. So the future looks Rosy and Morris knows it. “Yeah things are going well, no doubt helped by The Mission and The Cult making people more aware of the indie sector.”
The Rose of Avalanche have been lumbered with many comparisons in their time, due as much to sharing a hometown in common with The Sisters of Mercy and The Mission and their initial use of a drum machine as anything to do with their cinemascope, anthemic sound and its sharp, rebel streak touched with a hint of goth mystery.
“We’re really fed up with that old Sisters tag, its just not relevant anymore.” they say. “We’ve never settled into one particular type of sound and can’t seem to write two songs that even sound the same!” Which should make a diverse and pretty interesting LP.
Before then though, and by public demand, Fire Records is releasing two if their previous and now deleted singles together on a six track 12 inch EP. This takes in their finest moments from the raucously epic Too Many Castles In The Sky and by contrast the dark and sultry Velveteen with all their respective B sides, including the stage favourite Assassin and a version of Dizzy Miss Lizzy, just to prove how wide ranging their influences are.
The current flurry of success is not confined to Britain either as they have a compilation LP, unavailable in the UK, presently heading the prestigious American College Radio charts.
So with the stage all set for the big league, the long awaited debut album LP is going to be an important landmark, although they are not going to rush things. As Phillip Morris explains “We’ve put our whole lives into this and we want to get it right. We’ve built things up quite nicely in the indie sector without any help from the majors and if you can do it independently you can just image what the majors can do for you”