Turbowolf Talks Two Hands: In Conversation with Chris Georgiadis

(promo photo)

Vocalist Chris Georgiadis of British hard rock act Turbowolf discusses his band's latest release Two Hands, creativity and inspiration and what it means to be 'punk' these days.


Two Hands

Label: Spinefarm
US Release Date: 2015-05-26
UK Release Date: 2015-04-06
Label Website
Artist Website

Turbowolf has returned! The British "essentially punk" rock upstart has revealed a new album, its first full-length studio release in four years. The new disc, titled Two Hands, contains 11 tracks of heavy-hitting, hard rock music. A quartet who met through playing in other bands, the group is confident, brash, and just a little twisted.

Formed in Bristol in 2007, Turbowolf gained some initial footing and traction on the local rock scene by throwing "Wolf parties", concerts where they'd invite friends' bands to play. Word began to spread, and momentum began to build. Enlisting manager Don Jenkins, the band signed to Hassle Records to record their debut disc. Due to financial constraints, the quartet recorded the album piecemeal, rather then all in one session.

The eponymously titled debut eventually hit store shelves in 2011, but even after extensive touring, the band found itself without a record label home for a time, to say nothing of a lineup that required revamping, with the role of bass player taken over by Lianna Lee Davies. Eventually signed to earMUSIC (for Europe) and Spinefarm Records (for the USA), the band finally obtained the financial wherewithal to record a second disc. The label's backing allowed the band to experiment and explore further limits of sonic creativity, the end result of which was Two Hands.

Recorded in six weeks at Rockfield Studios in Wales, Two Hands features thick, soupy guitar riffs, aggressive synthesizer, and enough distortion to make the floor rumble. The album represents a band who isn't content to fall into a sophomore slump. Two Hands displays a wide variety of "rock" flavors, from the cocky punk of "Invisible Hand", to bits of funk and even disco, which seep into "Rabbit's Foot" and "Solid Gold". Some of the glory days of arena rock or hair metal pervade the disc, most noticeably on "Good Hand" and "American Mirrors". Quirky, neo-psychedelic components include twisted vocal parts, ambient synth insertions, and even an instrumental in the form of "Toy Memaha".

Hot on the heels of this new release, Turbowolf's vocalist, Chris Georgiadis, spoke in some detail about the new album, the band's songwriting process, and the music industry overall.

What's the most enjoyable or rewarding part of the music cycle for you?

Hey, it's all good stuff! It's nice that there are so many different elements to being in a band, as it keeps us from getting stuck doing the same thing. Writing, touring,

and recording is where I'm at. The parties and all that is for the industry people to back-scratch and blow coke up each other's asses. Not my bag.

You've got some nice momentum built on “American Mirrors”. The song is reminiscent of your debut. For the most part, it's a little more straightforward then the new material. Some would peg that type of tune 'more accessible'. How important is accessibility in your music?

We certainly didn't consider that one particularly accessible. It was meant to be kind of fast and horrible, actually. I guess we always try and get some pop music elements in our songwriting, and therefore, it makes even the nastier songs more listenable. That's really what we like to do; disguise a horrible noise within something catchy.

You mentioned "fast and terrible" and "nasty" songs. What makes up a "nasty" song vs. a "nicer" song?

Well, "nastiness" is of course relative. If you're listening to Darkthrone, then we probably sound like Britney Spears. In terms of what makes a "nasty song vs. a nicer song", well, most of our songs have some disgustingly wonderful guitar fuzz tones. We like to emphasize them in certain songs or parts of songs, and at other times those sounds are more hidden. It all depends on what we want the overall listening experience to be, and therefore, we treat each song as individually as possible.

The countermelody in "Nine Lives" is very effective. When you're writing, do you work those layers in from the outset, or do you add them later? Who wrote the lyrics to this song, and what message are you trying to bring to your fans?

I write the lyrics and melodies, and Andy writes the music. We go back and forth with ideas, and it slowly falls into place. With "Nine Lives", I wrote the melody with some other words at first, and then changed them once the concept had formed. It's about making the most of your life. Some people don't like the idea of death, and want to believe in some kind of afterlife to help them get through the day. I believe that if people understand that this is it, this is your life, they might learn to embrace this awesome existence and love it for what it is... short but sweet!

Where do you draw inspiration for lyrics? You mentioned making the most of life (for "Nine Lives"), so at least some of it is introspection...

It's a mixture of personal experiences and ideas that exist outside of myself. I don't always look for relatability when writing; I'm much more into using exciting or inspiring words to paint a larger picture.

How do you choose what to write about versus what to leave alone? Anything can be a song...

Trying to find exciting and inspiring words is the key for me. Making it "hit" is a combination of music, lyrics, society, and luck.

The discordant, distressed childlike vocal effects at the beginning and end of “Solid Gold” are really strange. How did you come up with that idea, and why do you feel it worked in this tune?

We had the kinda robotic intro / outro guitar riffs over the drums, and it just needed a little humanity in there. Finding the right sounds was the tricky part, and also making them work in the track, but once I'd cut and bent them into shape, they fit just right.

There are a lot of ideas in "Rich Gift". How do you combine what seem like disparate ideas into one smoothly flowing song?

With that song, we really just let ourselves loose. We're very good at cutting stuff out of songs; boiling them down to a concentrated stock. But with "Rich Gift", we had so many ideas, and just though we'd experiment and go wild. Really glad we did, as it's probably my favourite on the album.

Why does “Pale Horse” bring to mind old Neil Young? Is including discordant or unexpected notes in guitar solos (a la Jack White, at least live...) the new thing?

I'm not really sure if playing discordant / unexpected notes in solos is the new thing, really. We like that sort of thing, because sometimes, it's more fun to be wrong than right. Oh, and we love Neil Young, so I'm glad that comes through a bit. Especially his guitar sound on songs like "Hey Hey, My My".

A lot of musicians seem to embrace 'living in the moment'. Writing and recording an album is very much a fixed set of points in time though... it's an interesting juxtaposition. How important is perfection, versus spontaneous action, to Turbowolf?

In terms of writing, we aim to make each song as good as it can be. That's when we look for perfection. In the recording process, obviously there are time constraints, and we tend to go for feel in performances over a "perfect take". Then, live, it's all about matching the energy of the audience and putting on a great show. It's all a balance.

From Two Hands, which song would you utilize to introduce Turbowolf sonically to a new listener?

I'll pick "Rich Gift". It's got most of what we're about, and goes by in a brisk seven minutes.

The Two Hands mix is excellent - warm and full. Did you make an "audiophile" mix to press specifically to vinyl?

Thanks! We mixed it ourselves, with co-producer Tom Dalgety. We didn't do a mix specifically for vinyl, but we did take into consideration how frequencies would sound on most mediums, while in the mixing phase.

Can you talk a little bit about your general songwriting process?

Like I mentioned earlier, Andy (guitar) writes the music, and I write the words. That's how it's been for both albums. We arrange the songs together, and then present them to the other two, where we breathe some life and soul into the songs.

At what point did you realize you needed management, and is that when the band really took off?

Don has been our manager for about eight years now. He's the reason we're still going, I think. He really brought so much that we were lacking, and to this day, represents us in a formidable way. We love him.

What's the biggest obstacle (or pitfall) you faced as a band?

I'd say the biggest obstacle for most bands is money, or lack of it. The fact that we've all held down jobs, as well as doing the band for so long, is a testament to how much we love what we do. We've been pretty good at avoiding pitfalls, so far.

How did you choose your producer for Two Hands?

We met Tom Dalgety when he was engineering on a demo session we were recording. He was so good, and we got on so well, that we asked him to work with us on the album. Besides bringing the knowledge of how to make horrible noises sound massive, he's also a wonderful person with the sort of sick humour you need when spending all hours together.

Have you ever toured through the USA?

Never toured in the States. Hoping to make our way over there at some point soon though!

Do you have any especially memorable onstage crazy-moment type tales?

We all have nightmares of a gig gone wrong, no trousers, hands don't work, setlist written in French... that sort of thing. But in reality, we do all we can to avoid any of those things happening, and if they do, we embrace the chaos. Surely makes for a more exciting show.

How has the crowd response been to the Two Hands tunes? You mentioned embracing chaos...

Crowd response has been great! We've been slowly adding more new songs over the last year or so. In terms of "embracing chaos"... that was in regards to our live set in general. We play and perform with passion and energy, and if that results in a non-perfect live recording, then so be it. We provide a live experience, not an album playback.

Who is your ideal touring partner, band-wise? Who would you like to tour with?

Well we've just done (a tour with) Death From Above 1979. That was awesome. I'd quite like to tour with The Dead Weather...

How do you get through the "drudge days" -- uninspired, ill-feeling, or cantankerous days?

Like anyone does, really. If you can chill out, then do. If you can't, then just suck it up and get on with it.

The live versions of your tunes - are they faithful to the studio versions? Or do you change up the arrangements, instrumentation, and so on?

We're essentially a punk rock band, so live versions are always different, and sometimes wrong. That's okay, because seeing us live is all about energy, and having a good time.

Pure punk didn't seem to be too deep with their lyrics back in the day... they wore it on their sleeves, so to speak. Is a more interpretive tangent where modern punk music (or a hybrid, like Turbowolf) is headed?

I think punk is doing what you want with no care for societal/cultural pressures. We have no interest in fitting in, or being part a scene, so we try to make what we do in terms of writing not a reflection of anything else - rather a diffraction of everything we enjoy.

Is that a southwest USA native headdress on the Two Hands cover? How do you pick, or create, the images for your albums?

Andy makes all the artwork for the band. He's a talented artist in his own right. The album cover image is of a Native American crown dancer in a mysterious valley.

A powerful image, and a reminder of how much knowledge we've cast aside and forgotten.

The octave fuzz on the guitar seems to be a foundational element of the Turbowolf attack. What do you feel are the core elements of your sound, especially on

Two Hands?

Oh, I'm not sure... probably the guitar represents Turbowolf most. My vocal delivery also, and the songs as a whole.

What continues to inspire you regarding music?

We're inspired by being the underdog, and by not liking what we're seeing around us, both politically and also musically. Using negative things to create something positive.

What negatives have you made positive, so to speak, this time around?

We're positive people! So we just wanted to show that more on our latest album.

Okay, peer into your crystal ball... What's up next for Turbowolf?

Festivals all over the UK and mainland Europe. Then touring after that. Hopefully coming to the States at some point, too.

From drunken masters to rumbles in the Bronx, Jackie Chan's career is chock full of goofs and kicks. These ten films capture what makes Chan so magnetic.

Jackie Chan got his first film role way back in 1976, when a rival producer hired him for his obvious action prowess. Now, nearly 40 years later, he is more than a household name. He's a brand, a signature star with an equally recognizable onscreen persona. For many, he was their introduction into the world of Hong Kong cinema. For others, he's the goofy guy speaking broken English to Chris Tucker in the Rush Hour films.

From his grasp of physical comedy to his fearlessness in the face of certain death (until recently, Chan performed all of his own stunts) he's a one of a kind talent whose taken his abilities in directions both reasonable (charity work, political reform) and ridiculous (have your heard about his singing career?).

Now, Chan is back, bringing the latest installment in the long running Police Story franchise to Western shores (subtitled Lockdown, it's been around since 2013), and with it, a reminder of his multifaceted abilities. He's not just an actor. He's also a stunt coordinator and choreographer, a writer, a director, and most importantly, a ceaseless supporter of his country's cinema. With nearly four decades under his (black) belt, it's time to consider Chan's creative cannon. Below you will find our choices for the ten best pictures Jackie Chan's career, everything from the crazy to the classic. While he stuck to formula most of the time, no one made redundancy seem like original spectacle better than he.

Let's start with an oldie but goodie:

10. Operation Condor (Armour of God 2)

Two years after the final pre-Crystal Skull installment of the Indiana Jones films arrived in theaters, Chan was jumping on the adventurer/explorer bandwagon with this wonderful piece of movie mimicry. At the time, it was one of the most expensive Hong Kong movies ever made ($115 million, which translates to about $15 million American). Taking the character of Asian Hawk and turning him into more of a comedic figure would be the way in which Chan expanded his global reach, realizing that humor could help bring people to his otherwise over the top and carefully choreographed fight films -- and it's obviously worked.

9. Wheels on Meals

They are like the Three Stooges of Hong Kong action comedies, a combination so successful that it's amazing they never caught on around the world. Chan, along with director/writer/fight coordinator/actor Sammo Hung and Yuen Biao, all met at the Peking Opera, where they studied martial arts and acrobatics. They then began making movies, including this hilarious romp involving a food truck, a mysterious woman, and lots of physical shtick. While some prefer their other collaborations (Project A, Lucky Stars), this is their most unabashedly silly and fun. Hung remains one of the most underrated directors in all of the genre.

8. Mr. Nice Guy
Sammo Hung is behind the lens again, this time dealing with Chan's genial chef and a missing mob tape. Basically, an investigative journalist films something she shouldn't, the footage gets mixed up with some of our heroes, and a collection of clever cat and mouse chases ensue. Perhaps one of the best sequences in all of Chan's career occurs in a mall, when a bunch of bad guys come calling to interrupt a cooking demonstration. Most fans have never seen the original film. When New Line picked it up for distribution, it made several editorial and creative cuts. A Japanese release contains the only unaltered version of the effort.

7. Who Am I?

Amnesia. An easy comedic concept, right? Well, leave it to our lead and collaborator Benny Chan (no relation) to take this idea and go crazy with it. The title refers to Chan's post-trauma illness, as well as the name given to him by natives who come across his confused persona. Soon, everyone is referring to our hero by the oddball moniker while major league action set pieces fly by. While Chan is clearly capable of dealing with the demands of physical comedy and slapstick, this is one of the rare occasions when the laughs come from character, not just chaos.

6. Rumble in the Bronx

For many, this was the movie that broke Chan into the US mainstream. Sure, before then, he was a favorite of film fans with access to a video store stocking his foreign titles, but this is the effort that got the attention of Joe and Jane Six Pack. Naturally, as they did with almost all his films, New Line reconfigured it for a domestic audience, and found itself with a huge hit on its hands. Chan purists prefer the original cut, including the cast voices sans dubbing. It was thanks to Rumble that Chan would go on to have a lengthy run in Tinseltown, including those annoying Rush Hour films.

Next Page

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.