Articles - Interviews - "Creepy Says - An Interview with Mark Sultan"

You can call him Creepy, Needles, Blortz, BBQ, or a dozen other aliases, but you know if you see one of his names in a song-writing credit, that tune is sure to be a bona-fide blast of pure rock gas, reeking of the very essence of rock-and-roll. Mark Sultan (nee Peppe) has regaled us with classics such as “Ruby D”, “I’m Dead”, “Betty Page”, “Piss on Your Grave”, and “Hey Now! Hey Now!” since his days as Spaceshits frontman, through the Les Sexareenos experience (which hopefully isn’t over), and now as the one man band BBQ. I had a chance to unleash a barrage of stupid questions on Mark before he left on his latest tour, in hopes of getting a bit of insight into the adventures of the man Steven Strange once poignantly called “the Gerry Roslie of our generation.” Glean what you will from this interview, but I know I left realizing that the reason we love this humorous and genial guy’s music so much is perhaps that he has a genuine and pretension-free love for rock’n’roll and it’s history, and that’s pretty hard to find these days. See for yourself…

BG - When did you first get into music? What were the first records/bands you got into?

MS - Let’s see… When I was 5 or 6, my Dad got me ‘Abbey Road’ by The Beatles . Soon after that, I bought Led Zeppelin II on the recommendation of a ‘cool’ cousin with money I had saved up. After that, I started getting into Black Sabbath and shit, then Iron Maiden and whatever up until Venom and shit. When I was about 12, my brother and his friends turned me on to American hardcore and punk. Me and my friend Adam Leborgne started going to the shows and getting into British punk. Then, when I was 15 or 16, I started getting into 60’s stuff and then rock’n’roll and garage or whatever.

BG - Any musical training?

MS - No, no musical training. I got really cruddy drum-kit one year for Christmas, but I fuckin’ sucked! I would play along note for note with the guitars on the records I’d be listening to. It was stupid. But I picked it up.

BG - Were the Spaceshits your first band?

MS - No, well, ya my first ‘real’ band, I suppose. I had a lot of basement bands when I was a kid, with names like ‘Nancy Reagan’s One Breast’ or whatever. The first band I ever played in Montreal with and had fans for was this band called ‘Powersquat’. I played drums. I tried to play a lot of stuff that I liked, but this was a suburban band and everyone had vastly different influences. The shows were VERY violent and steeped in nonsense. It was fun, I guess.

BG - How did the Spaceshits come together/form?

MS - Well, the other guys had a bunch of line-up changes within the first 3 weeks of thinking about jamming, but the line-up I remember (maybe 3 or 4 weeks in) was Oily Chi on rhythm guitar, Stinky B. on bass, Skid Marks on drums and this guy Rupert on vocals. He’d sing shit like, “You – outta here! You – outta here! You outta here – NOW!!!”. It was great. Anyway, they were a couple of years younger than me (maybe like 16 or 17), and they’d hang around in sorta the same circles and shit. I think a couple of them even came to see Powersquat a few times or whatever. I hooked up with them at a bar once, and they asked me if I knew anyone who might want to sing for their band. I said that I’d do it. We started jamming and making up songs. Within a couple of months, Blacksnake (who originally played drums) usurped Stinky B.’s position on the bass and that was that.

BG - Who came up with the name Spaceshits and how/why?

MS - It must have been Oily Chi or Stinky B. I have NO idea where they got the name, but I do know that the original name was supposed to be ‘The Lobsters’ (!!).

BG - I've heard the Spaceshits were kicked out of every club in Montreal? True? Why?

MS - This is a long story. And I get bitter about it, so bare with me. When we first started playing, the shows would last like 10 or 15 minutes, things would get smashed, fireworks would go off, there’d be food-fights, etc… Just kids going bonkers. But people dug it. We started getting notoriety for our shows and the fact that we’d book unorthodox places and shit – we’d do ANYTHING just to play, cuz we loved it.

Things were going good, but the rumblings of bitterness in the ‘scene’ started very early. Lots of slagging and shit. It all coincided with us putting out a few singles and being on peoples’ lips. The first problem was that there was this cunting poseur band that started this fake ‘rivalry’ with us to ride our coattails and shit, I guess. We had NOTHING to do with them and didn’t give a shit about them, but they managed to make it look like we had a rivalry going, so all of their ‘hipster’ friends and future bookers and media knobs hated us while they rode the hype. Fine with us. Whatever. But this limited our standing at a few smaller clubs, already.

Anyway, we started to get higher profile shows, and that’s where the second problem started. We played with the New Bomb Turks at this decent place. It was going good. People were going nuts, and there were a LOT of them, but it was all in good fun. Someone threw something at me, like a plastic pill-bottle or something, something light and small. I picked it up and whipped it into the audience, but it ended up exploding on the mic-stand. Anyway, we kept playing, but from the side of the stage we got the hook – angrily. We finished our set in a flurry of violence and hatred. We started getting drunk backstage. I went to take a piss. The big promoter guy comes backstage and kicks out one of our friends, thinking it was me. Supposedly I whipped a beer-bottle at this guy and it smashed his face. But, the guy didn’t even know what I looked like. So we all get kicked out.

At the time, I was working at a big music distributor, so I got the real dirt. Not only did I smash this guy with a bottle, but apparently Skid threw a drumstick into the balcony and hit the president of this distributor in the face. Uh huh. So, word was that we were FINISHED in Montreal, blacklisted. Sure enough, after that shows were hard to come by. Even Canadian distribution was sabotaged. We were actually blacklisted! And all of these cunts were part of same little clique that controlled the papers and shit.

After this, we did a radio interview with a respected DJ on Montreal college radio. A ‘cool’ ‘scenester’. The interview culminated in us getting kicked out due to numerous insults and baiting, Blacksnake slapping his naked ass in their face, and the all-around mocking of this idiot’s ‘hipster’ status. Another bridge burned. Yes! Even though we hardly played shows in Montreal (concentrating more on other places and trying to get our fuckin’ kicks in peace) anymore at this point, it would have been hard if we wanted to.

The final straw was when we decided to do ONE show at the only place we could do it before our European tour to get a bit of money together, and to promote a Sultan Records CD. The bar and its owners had treated us like complete bitches in the past, but guaranteed that everything would be cool, cuz they knew a shitload of people would be there. Scat Rag Boosters were onstage and I was backstage with Blacksnake and Lyle Sheridan (Daylight Lovers) having a drink. All of a sudden, this fuckin’ steroid asshole coke-head monstrosity (the bar’s co-owner and bouncer), comes outta nowhere, picks up Blacksnake, and tosses him like a rag-doll headfirst and bottle-first into a set of stairs. Lyle immediately dumped his beer on a new TV until it fizzled out, dead. The goon stormed off muttering incoherently and gritting his teeth. I made sure Blacksnake wasn’t fucked up completely and stormed the stage. I stopped the show and told everyone to get their money back from the bar. But we had the money. Of course, the place got trashed. The other owner begged us to make it stop, but fuck that. This was another example of how we got treated and this time revenge was sweet. Anyway, Blacksnake’s hand was fucked up, and this was ONE week before our tour. The club owners told everyone that we made up the whole affair just to be jerks. The only way we’d get mentioned in the next little while was when we were getting slagged like crazy in the papers, and when the ‘hipsters’ did their griping. Funny how they’d turn tail when confronted. This crushed us. We couldn’t get a show anywhere. The hatred and jealousy since those days have carried over even today, cuz all of those cunts are the big-wigs now. AND bars and clubs are pay-to-play.

BG - Were you guys received better in the States then Canada?

MS - Definitely the US. Even though we had massive support in places like Quebec City and Toronto (of all places) in the beginning, the US crowds always understood where we were coming from, and most of our Fan Club members were American. Most of the zines that spread the word were American and all most our heroes at the time were American, also.

BG - Do you think everyone appreciated the Spaceshits more after they were gone?

MS - For sure. But, I think we all knew that at the time. We’d always get comparisons to Teengenerate or The Devil Dogs or whatever back then, but I think when you listen now, you can see we had our own sound. People just weren’t open to it at the time, I guess. People definitely talk about us a lot more now than then. But that’s cool. It assures infamy.

BG - Any favorite Spaceshits stories/shows?

MS - I was talking to Blacksnake about this today and I swear to you, there are a million. I’m not just saying that to be lazy. That’s what made that band magical to me. Okay… Here’s one. One time we were asked to play with Thee Headcoats and The Makers in Toronto. We decided to go a day earlier to hang out with friends and be ridiculous. Sometime in the evening, we went to a movie. After the movie, the theater left the reel in the hallway. Skid decided to rip it off for kicks. We loaded it into the van and went drinking at this ‘punk’ bar. A few hours later, the cops came in and busted Skid. It turns out that a ‘punk’ at the ‘punk bar’ was at the movie, recognized the French writing on his jacket, and reported him to the pigs. The cops got the reel, Skid went to jail because he already had a record and we drank a bit more. Turns out Skid hooked up with some Vietnamese gangsters in the paddy-wagon, and smoked dope with them in there, in the cell and on his way to court the next day. We went back to our friend’s place where we got hammered and thought of schemes to get Skid outta jail in time for the show. We tried getting in touch with Long Gone John to wire bail money, we tried to get our friend’s professor Mom to write a letter begging for a pardon, all these stupid plans… The first thing in the morning, Blacksnake goes drunk to the courthouse, looking sleazy, dressed in an ill-fitting suit with a briefcase filled with nonsense. He goes through the metal-detector and it beeps. They check his briefcase and find his stiletto (!!!). They search him next, his pockets and shit. He was laughing, because they overlooked the quarter-sheet of acid in his pocket that they held in their hands. Anyway, Skid’s case was dismissed and he got to the show ten minutes before we were supposed to play (after eating a ‘reward meal’), and we destroyed and had a crazy night.

BG - Do you prefer the first or second Spaceshits LP? Why?

MS - I really don’t know. I realize the general consensus is that the first album is the better. I can see why: the energy is frantic, the songs are fast and short. I know we were thrilled at the time, driving down to Brooklyn! to Coyote! with Andy G.! And we met Candy Del Mar! Billy and Miriam from Norton! Everything was very new and exciting. There was coke everywhere. We were young, naïve and thrilled, and it comes out in the recording. BUT, I like the second one, too. The second one represents an older, more jaded bunch of miscreants. We had absorbed more music at this point, and we puke it up. We took our time. I guess the first one is better. They are two completely different things.

BG - Lowery tells me he did a recording of the first Spaceshits LP in his basement? How was that? What happened to those tapes?

MS - You’d have to ask Greg. It wasn’t the first one, like I said, it was after… He recorded it, but every time we ask him for a copy, there’s a new excuse. I kinda think he just doesn’t like the way it came out or something. Who knows? I only heard it once. Maybe it does suck. But we still love Greg.

BG - How do you think the Spaceshits sound changed between the LP's?

MS - Well, like I said, we had done a shitload of stupid things and ingested a lot of drugs and alcohol, and heard a million albums in between the two. We became less excited in a naïve way and more excited to have the chance to do things we wanted. We were jaded a bit, had met a lot of heroes, played a lot of crazy shows, had a lot of stupid adventures. The perfect way to hear the almost natural progression between the two would probably be to hear the album we record with Greg Lowery in late 97 or early 98 – I can’t remember. I only heard it once, on a cassette that he sent us and that we subsequently lost, but it makes sense. Tongues plays on it. Around that time we also did a session with Kearney Barton. How do you think the sound changed between the two albums?

BG - How come you guys could never keep lead a guitarist? Who was the best?

MS - Really, there were only three guitarists. Tongues played until just before Misbehavin’, except for one summer when ‘Big’ Donny C. replaced him (I think he’s on one demo). And then came Alex Fascination. Tongues always had a different name. He was like my brother. We were all very close and acted like some kinda gang or something. I liked what he did, but he changed a lot. We don’t get along. Alex was alright, but he kinda snapped on our Euro tour.

BG - Who was Stinky B?

MS - Stinky B. was the original bass-player for The Spaceshits. He was a super-enthusiastic guy that had good songs and funny ideas. The same summer Tongues went away, so did he, and I think that’s when Blacksnake permanently replaced him. He bad-tripped on acid one time and claimed for the next year to be living in a ‘triple-layered reality’. He actually had been just wearing glasses with the wrong prescription.

BG - Why did the Spaceshits break up? Simply because Blacksnake didn't come back from Europe? Why not continue on without him?

MS - Nah. The band just ran its course. It was over. Maybe if we would have had the breaks it would have continued, but I doubt it. And we were like brothers, so the thought of replacing Blacksnake never crossed our minds.

BG - How did you hook up with Long Gone John? Any good LGJ stories?

MS - We had sent him a cassette (our first demo), and he got back to us after a while. Supposedly, he was at his computer or something, and hit the tape with his foot under the desk. He picked it up and liked the name, so he popped it on and loved it. That was that. I don’t have any really good stories. I mean, it was always cool to visit his place, man. He had like a mini-mansion kinda thing with all sorts of CRAZY rock’n’roll and underground art TREASURES strewn all over the fuckin’ place! It’s all pretty much been documented before, but it was cool. Complete with revolving staircases, secret doors and shit.

BG - How crucial was LGJ/SFTRI to your guy's success, even up to today?

MS - I mean, SFTRI was always an honour to be on. I used to have some of his shit when I was younger, so that was cool. But what people don’t realize is that he never really sent out anything for review, nor did he do many ads outside of Juxtapose and shit. He relied mostly on word-of-mouth and so did we. We just tried to play as much as we could and put out great records so that people would catch on. But, SFTRI was a help I guess, ya. Moreso than if we were on a smaller label, I suppose. We used to really look up to Long Gone. He has always been cool with us, and I personally appreciate all of the things he has done for us over the years.

BG - Any chance of a Spaceshits reformation/reunion?

MS - I’ve brought it up to those guys a few times. I thought it might be fun just to go to Japan or whatever, I dunno, but who knows… Nobody’s 30 yet. Maybe we could. Would anyone even care?

BG - Is there any unreleased Spaceshits material around?

MS - There’s a shitload. Firstly, our first cassette. 4 songs or something. Then our second one which got the ‘deals’- 8 Hits Loaded With Kicks. Then there was a whole album we did BEFORE Winter Dance Party at a studio in an Indian reserve. We sent this to Tim from Crypt at his request. He said that it sounded like Dion. But it’s SUPER fast and sounds great. Lotsa weird songs. Then there’s the Greg Lowery album. And a whole session done with Kearney Barton at Audio Recording in Seattle. Then there’s that live-from-the-radio bootleg that we wanted to put out ourselves, there are other tracks from the WDP sessions and assorted other outtakes from this and that.

BG - How many different aliases have you used, and why?

MS - I have been Needles, Krebs, BBQ, Von Needles, Skutch, Creepy, Bridge Mixture, Kib Husk, Noammnn Rummnyunn, Blortz, Celeb Prenup, Mark Sultan, etc… I don’t know why exactly I do this. I think it’s fun I guess. I don’t take the music that seriously, and I like being incognito. I’m retarded.

BG - How come you often obscure your face in photos, or when you played live in the Spaceshits?

MS - I started doing that as an easy way to bait the audience and shit, I guess. But I continued doing it mostly for no reason. It’s cheesy, but I’d rather people remember my music than my ugly face or my stupid name or whatever. That shit’s bullshit. I’m doing an album for my one-man band here in Europe, and I somehow got convinced to put my face on the album, and I totally regret it. It seems very egotistical and shitty.

BG - Are you finished doing Sultan records?

MS - It seems that way. When we (me and 2 Irritations) started doing it, we had good distribution and whatever. It was great. Then, we pressed a CD (who knows why) with The Spaceshits, Deadly Snakes, Irritations, Scat Rag Boosters and Daylight Lovers all doing unreleased songs and shit, and things fell apart. The distribution pulled out, and the bottom fell out. Oh well. Maybe we’ll do something again one day.

BG - What was the transition from Spaceshits to Sexareenos? Did both bands exist at the same time, etc.?

MS - My memory of it is that when we got back from that European tour, me and Skid wanted to do something new, so we hooked up with Choyce (then of the Irritations and Daylight lovers) and his girlfriend Annie (who I remembered from other bands) and switched up on instruments. We wanted to make a party band that played rock’n’roll music we loved and would guarantee chicks at every show. We practiced for a little while and it all came together quickly.

BG - What is a Sexareeno and who came up with that?

MS - The name actually comes from a rock’n’roll pulp novel called ‘The Sexareenos’ by Vin Saxon, who is actually Ron Haydock of The Boppers and Rat Pfink A Go Go Fame. All we did was to appropriate the name to suit our diabolic purposes.

BG - Were Les Sexareenos accepted any better in Montreal/Canada than the Spaceshits?

MS - I think so, ya. But only because of people finding out about The Spaceshits when we had already started Les Sexareenos, probably. Although there were always more girls at the Sexareenos shows, and since the violence was diminished and the dancing went up, clubs feigned interest sometimes.

BG - Why'd you switch from frontman to drummer? Which do you like better?

MS - I don’t really have a preference. Drumming is fun. I like lurking in the shadows. Plus, I’m lazy, so I can sit all the time, that’s great. As a frontman, there was obviously a lot of pressure, which was fun sometimes. It’s all fun.

BG - Whats the current status of Les Sexareenos?

MS - I think the appropriate term is ‘on hiatus’. I would tell you that the band was officially finished, but you never know. What I do know is that we definitely needed time away from each other, but we all have songs ready for a new album… And when we release our comp album this coming fall, maybe we’ll all realize that we were a decent band that got a lot done and put the stupid shit behind.

BG - When can we expect the new album? Whats the title?

MS - The ‘new’ album should be coming out in the fall on Sympathy. It’s a 29-song comp of all of the singles (with different versions) and a bunch of unreleased stuff recorded all over the world. It should be great. The title is up in the air at the moment.

BG - What is the rumored "Death-A-Reenos" LP?

MS - Ah, ‘Death-A-Reenos’ was supposed to be the LAST album. Maybe not the one we have songs written for, but it was supposed to be the one that had covers of our favourite punk and hardcore songs on it, like Raw Power’s ‘Fuck Authority’ and shit. We’d occasionally do some of these live. I actually hope to do that album one day.

BG - Any misconceptions/shit-talking about the band you'd like to clear up?

MS - I’m not going to defend myself or the band. If you are a gossip-mongering cunt who also believes any stupid shit you hear about a band or the people as individuals, then fuck off. I don’t give a fuck what people think of me, especially if you don’t know me. Our music was honest and fun. I loved playing in Les Sexareenos. Sometimes people get angry and start rumours. They can suck my ass.

BG - Did you have a hand in the Sympathetic Sounds of Montreal LP? When can we expect that?

MS - Well, ya, Les Sexareenos have 2 songs that’ll be on there. One I wrote and has Jenna (ex-Del Gators) singing a duet with me, and one that Skid wrote. I also have 2 or 3 BBQ songs on it, and I play drums for this cool all girl R&B band featuring Annie Sexareeno among others.

BG - Someone once called you "the Gerry Roslie of our generation"? How do you feel about that?

MS - That’s a bit on the ridiculous side, I’d say. I’m just this fat drifter that wears the same fuckin clothes everyday. I don’t know exactly what the comparison is. Do we sound the same? I dunno. It’s quite a compliment. I hope people dig what I do.

BG - How do you write so many killer and authentic rock-n-roll songs?

MS - That’s cool. I guess I just have a crazy love for rock’n’roll music. I base my life on rock’n’roll. It’s been my education and my experience. I just understand what it is and I love it with all of my heart. If that comes out in the music and people are diggin’ on it, then that’s great. Don’t get me wrong, I am NOT a good songwriter. Some people would argue right now that it takes good lyrics to make a great song, but I don’t give a fuck about lyrics – I usually just sing it live and just say whatever feels best in my mouth. Maybe that’s a problem for some people. I remember getting a letter once from someone in Europe somewhere who wanted to do a tribute album to all of my songs and shit, and I had to tell him that it was a bit ridiculous. If people like what I do and it inspires people to do their ‘homework’ and to discover all the great music from the past and to start bands and shit, then I think I’m doing the right thing. That’s such a great compliment for you to say that. Thanks.

BG - How long have you been doing BBQ?

MS - For maybe a year and a half or something. I just got kinda bored with waiting on people to play with me. I always have a lot of songs floating around in my head, you know, so I just wanted to play. I want to travel and play music. That’s all I care about. I did it out of necessity. I’d much rather have a real band, but I can’t find people to play with anymore.

BG - Anymore BBQ material coming out on record soon?

MS - I have a 7” on Goodbye Boozy already. It came out last year. And then in a few weeks or so, I have a full album coming out on Sounds of Subterrania (the LP), and the CD will be out soon after that on either Alien Snatch or Sounds of Subterrania. They are both German labels. I hope people in the US will search it out. I think fans of The Spaceshits, especially, will dig it. I also have an album coming out on Alien Snatch of a band I have here in Europe called ‘The King Khan & BBQ Show’. It’s a two-man band I have here with Blacksnake. It’s REALLY rock’n’roll. We’ve been playing around Europe for the last year, and they have been some of the craziest shows I have ever played. People really dig it. Look for all this shit soon!

BG - Do you dig any of your OMB contemporaries? (King Louie, Skip Jensen, etc.)

MS - It’s funny, cuz when I first started doing this I was doing this out of neccesity, like I said. But I had people accusing me of ‘jumping on the bandwagon’ or whatever. Turns out there are LOTS of one-man bands. I didn’t know, and frankly don’t give a fuck. I do whatever I want in life and try not to answer to anyone but myself. King Louie is great, so is Skip Jensen, but I also dig Hasil Adkins, of course. I don’t TRY to sound like a typical one-man band. I’d rather sound like a very primitive 3 man band, if possible.

BG - Where are headed on the upcoming tour? Who are you playing with?

MS - I have a few tours coming up in Europe, but don’t really know who I’m playing with. I always get fucked over on tours. I just do it for fun. I know that I am doing a month with Blacksnake’s band, King Khan & The Shrines, which should be a lot of fun. I also know that The King Khan & BBQ Show will be touring also, playing the Wild Weekend in Spain and shit. Should be great. And then Brazil sometime soon when I figure out the Visa bullshit. Fuck, I’d play Kenya if there was a way.

BG – Do you like being an OMB better than having band members?

MS - No. I’d much rather have a whole band, because I have songs that can’t be played by me alone. And I think some songs would just sound better and give me a chance to drum or sing in my full capacity. But I also know that I have a lot of free time some people don’t have and a lot of things I want and am willing to do that most people wouldn’t want to try, so it’s hard for some people to be in a band with me. Oh well. I work fast.

BG - As an obvious rock-fan, how do you feel about the neo-new wave movement of bands becoming popular now? (Epoxies, Briefs, and other similar crap)

MS - I don’t know a lot of that stuff, and I’m probably wrong in saying this, but who gives a fuck. For me, real rock’n’roll is important. It has shaped everything we have now culturally and even socially. To me it’s a tradition, but it’s also something that has to be kept alive. I want to be part of it. I want to keep it alive. I want to trace myself back through the ages to a direct line that I can feel proud of. I don’t think playing ‘rock’n’roll’ is being retro. I consider the 50’s and 60’s to be its heyday, yes, but I think that I have a natural tendency to write music like that because maybe I share the same influences as those guys or whatever. It really isn’t a conscious effort to sound like whomever or whatever. That happens to be the music that comes out of me, even if it’s years later, maybe due to the same choices I’ve made in life or the same ideas or whatever. So when I hear bands doing new-wave or 80’s shit or whatever, it kinda bugs me. It seems like it’s an effort to be ‘different’ or to start or be a part of something ‘new’, but it seems ultimately to be just a desperately manufactured trend that won’t last, created for the jaded. Rock’n’roll isn’t a trend to me. It’s a very important legacy that isn’t about being cool or conversely derivative or whatever. It is possible to do THAT blues progression and STILL be fresh and exciting or at least to be proud of what you have done. It’s celebratory and vital. Aged and young at once. I can understand that people wanted to turn their backs on rock’n’roll when it became mainstream, but that shit will pass. To peg a couple of years of pop music history and base a ‘scene’ out of it in any way is weird. My personal influences run from early gospel to R&B vocal groups to juke-joint shit to doo wop to rockabilly to country to rock’n’roll both white and black to soul to garage punk to beat to psychedelic to early 70’s raunch to punk to hardcore to modern garage. Those are just my influences. I listen to other things, too. The real shit will always still be there and I will always love it.

BG - Who's better: Rip Offs or Supercharger?

MS - Supercharger.

BG - Sonics or Wailers?

MS - Tricky question. But the Sonics always seem to win that battle, regardless of the absolute genius of the Wailers.

BG - Sexareenos or Spaceshits?

MS - No idea.

BG - Gories or Dirtbombs?

MS - Gories.

BG - What are you gonna do when you get back from tour?

MS - I have no idea. Maybe I’ll try to find somewhere new to live and start a new band with some new people. I don’t really think about the future…

And that was about it, I hope you enjoyed it. For all you Europeans, be sure to look for BBQ on tour, and everyone else, keep an eye out for all those new records. Supposedly, the Sounds of Subterrania BBQ LP was released September 1 st , but I can neither confirm nor deny that at this moment. Daniel at Alien Snatch! says the CD version of the BBQ full length should be out “VERY SOON”, and the King Khan & BBQ Show recordings are coming up and should be out before the end of the year. Both the Les Sexareenos and Sympathetic Sounds of Montreal records on Sympathy seem to be on track for release before Christmas, but you can never be too sure with Long Gone. And there’s also a Sexareenos 7” forthcoming on Just Add Water Records, most likely before the end of the year as well. That’s a lot of good shit forthcoming, and I’m absolutely positive it will all be 100% killer. If you want to contact or write Mark, do so here:

Interview by Filthy Rich. Pictures by somebody else.

© 2003