Saturday Special: Agramon’s Gate [Film]


“A psychic reader and Medium is invited to a party. Something goes very wrong and something comes over from the other side to haunt the people from the party. They must solve the mystery before it’s too late. Agramon will not be easy to stop.” – October Coast PR



Hello Folks! It’s another Saturday Special here at Trainwreck’d Society, and we have a doozy of a suspense thriller that fits our agenda ever so nicely here. Agramon’s Gate is one of those indie thrillers that is bound to leave your breathless and regret that you watched it alone at all hours of the night while your family is resting peacefully in other rooms while you are freaking out internally and feel the need to slam a few shooters of vodka to get yourself to sleep. Is that too wildly specific? Well, I can only speak from experience, Folks. Seriously though, I truly enjoyed this film exactly for what it was. This film is a brilliant blend of horror, suspense, and a classic tale of taking something like the supernatural a bit to lightly and eventually suffering the consequences. While I would love to avoid any “spoilers” of the film, it behooves me to, in a roundabout way, mention that there is a certain element (a moment, really) that made Agramon’s Gate stand out amongst the plethora of suspense films based around similar subjects. It’s sort of a “fuck all this” moment that I feel NEEDS to be projected in more films of this nature. Sometimes you just want to give up, right? It may not be the most exciting element of a terrible situation, but it’s cathartic on so many levels for me. I won’t go into details, but as soon as you watch this incredible made film, you will know exactly what I mean. I hope. Nah, you’ll get it.



Agramon’s Gate is another final production from filmmaker Harley Wallen, who’s previous film, Eternal Code, landed in our Top 50 Films of 2019. The film was of a different nature entirely, but shared a similar vibe of suspense and a style all of Wallen’s own. As his work was before, the film is lead by an incredible cast. The legendary Yan Birch and Laurene London make strong performances on another Wallen project, and I feel the great need to highlight a young Calhoun Koenig as the titular character, who was absolutely frightening, a.k.a. brilliant.

So Folks, if you are looking for a good bit of suspense and fright with some kind of lasting effects on your psyche, look no further than Agramon’s Gate. It is a great deal of fun for a Saturday night, and I know you will love it. Enjoy!


Agramon’s Gate is available now On Demand from Midnight Releasing. Get it wherever you purchase great films!

Bambadjan Bamba [Interview]

Photo by Cecile Boko

Hello Folks! Today we have some incredible words from an absolute star! It’s Bambadjan Bamba! Yes, he is an incredible actor that you know and love from projects like is reoccurring role in the beloved hit series The Good Place, to one of the finest Blockbuster films of all time, Black Panther. But, while these were the types of projects that initially drew me to have him featured on the site (especially because getting someone from The Good Place on the show would make my 14 y/o daughter think I’m “just, so cool!”), I was excited to learn more about this spectacular performer. And that was when I discovered that Bamba has not only also done a plethora of voice over work, but he has actually gotten by the camera as a writer, producer, and director. To learn that a man who has seemed to master his craft is willing to push beyond the stronghold of the creative forces that be and make his own way in this industry is not only impressive, it’s downright admirable! Bamba is one of those artists that you can tell takes his craft serious, which is a wonderful breath of fresh air amongst the smog of reality.

So Folks, please enjoy some wonderful words from the absolutely brilliant Bambadjan Bamba!




What inspired you to get into the world of entertainment? Was it something that has been ingrained in you since you were a child from influence, or did you happen to find yourself in this world one day?

At the heart of it I would have to say that I got into the world performing arts for acceptance from my peers. I was kid in 5th grade with no friends who barely spoke english and one day in assembly hall someone handed me a mic and asked me to sing and I sang Michael Jackson’s “Will You Be There” song and all the sudden I had friends.


What was your very first paid gig in the world of entertainment? And were there any sort of lessons learned from this experience that still affect your work today?

My first paid gig was in 2005 was a short film called ” Battlescars” it was an independent short film about a young revolutionary rapper. Here’s a link

The lesson is to never despise small beginnings. This short film gave me my first acting reel, which helped me get my first agent who I’m still with 15 years later. I’m also still in touch with the filmmakers who are doing big things now.

The current craze that is sweeping through my household is the truly original and unique series The Good Place, in which you regularly appear in. I am curious to know what personally drew you to this project? And how has your experience been working on the show over last 4 seasons? What has set it apart from other projects you have worked on?

What drew me to the project was the opportunity to become a series regular and to play an African philosopher on network tv. Not to mention the fact that Mike Schur created the show and wrote a character specifically for me and asked me if they could use my name. In what world does that ever happen???

It’s been delightful working on the show. It’s probably the most heavenly television set i’ve ever been on. The crew should also be actors on the show because just like the actual Good Place No ego’s or attitudes just good times and hard work.



We have showcased quite a few folks from the world of Voice Over work, especially in the world of video games. You happened to have worked on one of my favorite video games of the last decade, the brilliant L.A. Noire, from Rockstar. I am curious to know how you enjoyed the world of voice over work? And did you ever play the game itself and bizarrely hear yourself whilst enjoying it?

I do V/O work on a regular bases or should I say I audition for v/o on a regular bases while booking a couple every year. I love it because it’s pretty much the same as acting without the camera element so no hair, makeup wardrobe, lights, room tone, etc. I’ve always played video games so I was so hyped when I bought the game and saw myself in the actual game! Such a surreal experience. Since working on Black Panther I’ve definitely been up for more war video games so I hope one day I’ll be in Call of Duty.


Scrolling through your IMDb credits, I noticed a project that I am sadly unaware of, but very intrigued by. It is a short film you wrote, directed, and produced entitled Papa. Could you tell our readers a bit about this film? What made you want to get behind the camera and tell this story?

So Papa is a short film I wrote and directed years ago. It started out as a monologue I did around NYC with a traveling theater group for act risk youths. The father and son element of the monologue resonated so much with young men that when I moved to LA during the writers strike I decided to challenge myself behind the camera to stay busy.

Papa is based on my experience as a teenager growing up between two cultures and the challenges of trying to be American in a home with a stern African father. You can also watch it for free
If you were handed the opportunity to create & star in the biopic of any legendary figure in American history, who would it be?

A legendary figure in American history would absolutely be Sidney Poitier. He personifies everything that I hope to be as a leading man in the industry and activist for a greater cause. I remember watching Guess Who’s Coming To Dinner as a child and how his monologue at the end of the film asking his father to get off his back impacted me. It was probably the first time it ever occured to me that you can put your father in his place. I still use that monologue for theater auditions.  I’m sure you can tell that I have a lot of unresolved daddy issues…lol


What does the future hold for you? Anything you would like to plug to our readers?

I had a recurring role as a bad ass called Remi Toussaint on Amazon’s Bosch season 6 and it drops in April 2020. I’m also prepping a short film called For Teetee about an undocumented  father who tries to protect his daughter from his worse nightmare. Should be in festivals late 2020.

Stay tuned: Twitter: @RealBambadjan IG: Bambathegreat


What was the last thing that made you smile?

The last thing that made me smile is my wifes response when I told her I wanted to try being vegetarian for awhile. She said too bad I just made some okra stew but it has fish in it. I said perfect why don’t I ease in as a pescatarian.

Billy Wayne Davis [Interview]


Hello Folks! Today we have another incredible interview to share with you all today. Billy Wayne Davis is another absolutely outstanding stand up comedian gracing our digital pages today. Billy is somebody that I came across on a personal level not unlike our very recent guest, fellow comedian Allen Strickland Williams, in that his name is brought up often on the plethora of comedy podcasts I enjoy. This would in turn lead me to checking out as much of his work that I can and truly loving everything he is doing with his act. And that, Folks, is just called marketing!

Davis is hand’s down one of the most original comics I have watched in a lot of years. He is a southern boy with liberal views, which seems like a unicorn all in its own, but even when discussing “liberal” issues, it doesn’t play out to be anything like a crutch. He is just really, really, funny! There are no gimmicks with this cat. He just has hilarious stories and jokes that will guarantee to make you smile. I truly believe that there is a difference between being self-aware, and being self-aware to know that standing out for being a great comic is more important, and ultimately more rewarding, than standing out for the sake of standing out.

So Folks, please enjoy some incredible words from the insanely hilarious Billy Wayne Davis!




When did you first discover that you are a hilarious human being and you wanted to make people laugh for a living? Is it something deep-rooted, or did you happen to find yourself in this world one day?

I liked making people laugh and laughing since i can remember. My parents always enjoyed good comedy, but they were teachers, i had to seek out the comedy world. It felt right for the jump.


What was your very first paid gig in the world of entertainment? And were there any sort of lessons learned from this experience that still affects your work today? 

I got $50 to do 15 minutes at the Baxter Tennessee Street Fair. I learned that the crowd will always side and laugh at the smart-ass child heckler.


You’ve been in the game for quite a long time, and have had some great success. With that, I have been hearing some great stuff about the city in which you started in, Nashville. I am curious to know how things have changed around there since you first started? Is the rise in popularity of the city a good thing in your opinion?

I think Nashville tricked itself out like a filthy whore. Anything to the highest bidder. It was once an interesting gritty little city that fostered weirdos, the righteous, and sinners alike. But now its DERP VEGAS. An opportunistic fire sale of working class culture squeezing out every last cent it can. But there’s still some dope people and places I love to visit there just not for as long.


And how about the world of comedy in general. With the rise in popularity of stand comedy from things like podcasts and YouTube, how drastically do you feel the comedy scene has changed over the years? And is the amount of content available a good thing to you? Or do you believe it is becoming oversaturated?

Everything is oversaturated because we haven’t mastered or even begun to understand our new technologies yet. Whether thats good or bad, YES.  Its both good and bad. New excites some, and new scares others. I’ve found that as long as i’m being creative, i can find the funny in any new medium. Some just don’t interest  me. And thats OKAY!


I always love to ask people who travel a lot performing music or comedy or what have you, what are some of your favorite cities to perform in that people may be surprised to find out are great to do comedy in? 

Dublin, Ireland.

Humbodlt County, California.

Bloomington, Indiana

Vancouver BC

West Virginia

Anchorage Alaska


What does the future hold for you? Anything you would like to plug to our readers?

Keep doing stand-up until i can’t. I’d like to write more for television. I’m currently working on several podcasts. Look out for those.


What was the last thing that made you smile?

My 1 year old son, and his ten year old brother eating breakfast together this morning.


Catch Billy Wayne Davis bringing his comedic joy to a city near you! Head over to for tickets!


Upcoming Shows:

Thursday, Feb. 27th @ The Siren Theater in Portland, Oregon

Sunday, Mar. 8th @ Dynasty Typewriter in Los Angeles, California

Wednesday, April 1st @ Loony Bin Comedy in Wichita, Kansas

Friday, April 3rd @ The Paramount Room in Oklahoma City, Oklahoma

Saturday, April 4th @ Blackbird on Pearl in Tulsa, Oklahoma

Friday & Saturday, April 17th & 18th @ Club Comedy Seattle in Seattle, Washington

Friday & Saturday, May 29th & 30th @ Savage Henry Comedy Club in Eureka, California

Wednesday, June 17th @ Zanie’s Comedy Club in Nashville, Tennessee

Friday, June 19th @ Club 337 in LaFayette, Louisiana




New Music Tuesday: Heart Bones – Hot Dish [Album]



Over the last couple of years, I have become aware of a man that I could only only describe as poignant and hilarious. That man would be Har Mar Superstar. I was incredibly unaware of how talented he was musically, because quite honestly, I only knew of him from his several appearances on the podcast Doug Loves Movies. Every time he would show up on a panel, I would think to myself, “Oh I should check out his music”. Yet, being the fool that I am, I hadn’t gotten around to it. But, I am happy to say that this tom foolery is now over after seeing his name pass through my inbox in the form of his latest project alongside fellow musical genius Sabrina Ellis. And I can simply say now that I am a fan. Holy shit, People. Something extremely special this way has come in the form of Hot Dish. I seriously have to restrain myself from calling it a perfect album, as the baggage that comes along with such a statement is heavy and I hate checked luggage. But, if Hot Dish shouldn’t be called a perfect album, it’s so goddamn close.


The delightful pop sensibility of Hot Dish is definitely going to be an obvious plus for anyone who is into danceable and sincerely entertaining music. But, with myself being one of these try hard fools who truly NEEDS the songwriting aspect to be a crucial element, I am here to say that I was not disappointed in the slightest. Amidst the flurry of what could be considered to be musical confetti, and the ultimate coming-of-age film-Prom-night-scene soundtrack, there are some incredible stories to be told amongst these 11 tracks. Yes, even a cover of “Hungry Eyes” is involved, and is totally re-invented in a way that I almost forgot that it was a cover at all. It’s so damn good people! Har Mar and Sabrina have managed to create something that is smart, emotionally stimulating, and just a whole lot of fun. There is a little something for everyone here.



If you’ve been reading our little site regularly over the years, you may know that we tend to dig deep into an album to find those tracks that might get overlooked, and praise the living shit out of them, because we are edgy like that and totally not a gathering of hipsters in sheep’s clothing. Nope, not at all. But this time, I simply cannot let go of how much the two tracks that were previously identified as the singles bring me so much joy. The finest of them all being “I Like Your Way”. Seriously Folks, I’ve probably listened to this song over a 100 times, and every time he Har Mar states “chunky peanut butter / funky motherfucker” I still smile. I smiled just writing that. It’s so much fun. The other obvious pick is “Don’t Read The Comments”, which is an extremely catchy pipe dream for this day and age. It’s so good. And because we just simple boomers in the blog game, I can’t help myself and have to say that “Unforgivable” is another amazing track you should all know and love. Alright, now I feel better.

Basically, I need you all to realize that Heart Bones is a project that is going to live in my world for quite some time, and I hope you all would do the same. While I hate to do that hack thing where we tell you what a group should be compared to, I can’t help myself from pointing out that the feeling I have in my gut and heart whilst listening to Hot Dish is comparable to when I first discovered the Strength’s Mindreader, and basically anything from Starfucker. So take that as you will. “RIYL” if it needs to be stated. Just listen, Folks. You’re going to love this one!


Hot Dish from Heart Bones is available now wherever you purchase great music courtesy of Love Online Records. And they are bringing the beauty to a city near you! Check out the dates in the image below, and head to their WEBSITE to get your tickets!





And because I loved it so much, check out this official Audio for “I Like Your Way” if you thought I was lying to you. I wouldn’t do that.


Lone Scherfig [Interview]

(Photo by Yu Tsai/Contour by Getty Images)


Hello Folks! We have an absolutely incredible interview to share with you all today. When I first moved to the UK in late 2016, I remember being in downtown London seeing a plethora of advertisements for a film that was coming soon entitled Their Finest. By poster alone, I was intrigued. So I did some research, and anticipated its arrival. During this time, I was working on a celebration of Women in filmmaking special I wanted to do, and I discovered that the aforementioned film was almost entirely made by women. I was intrigued to say the least. So, I attempted to secure an interview with the film’s director, but she was understandably busy at the time, but directed me to the film’s screenwriter, Gaby Chiappe, and she made for a wonderful inclusion in the series. That generous filmmaker was indeed the one and only Lone Scherfig. And if you couldn’t guess, she’s finally gracing our digital pages today!

Being as insanely busy as Lone is, we are so incredibly fortunate to have gotten some wonderful words from her. She is an absolutely brilliant filmmaker. Her 2009 film An Education is one of my favorite films from the last 20 years. We were able to discuss this film, Their Finest, and much more in this incredible interview below. Again, we are so very honored to have her join the TWS family. So Folks, please enjoy some incredible words from Lone Scherfig!




What inspired you to get into the world of entertainment? Was it something that you have aspired to do since your youth? Or did you happen to find yourself in this world one day?

I remember in my teens slowly realizing that watching films was something you could actually do for a living. So, not unlike what Jenny dreams of in An Education,  I smoked, watched French films, and then went to Paris to study. I wrote about Italian neorealism, the films I still feel most closely connected to.  Later I studied in Copenhagen, then went to film school there. When I got out, a director at only 24, I began working as a 1st Ad and script supervisor.

What was your very first paid gig in the world of entertainment? And were there any sort of lessons learned from this experience that still affects your work today?

The summer I left film school, The Love Boat came to Copenhagen and I got a job. We only had one television station here then and nobody knew the series, which ran in 103 other countries.The actors were unknown here and almost felt invisible when walking the streets of Copenhagen. They were euphoric.  One day, when we were shooting on the rain, the gaffers build an entire cabinet of lights for me, where I could stand and be heated. I almost melted and have never stopped loving gaffers and grips. In the evenings, we sat on the deck of the Pacific Princess and played a brand new board game, they had brought. Trivial Pursiut it was called.

The 2009 film you directed known as An Education is one of my favorite films from the last 20 years, it’s truly a masterpiece. I am curious to know what made you want to bring this story to the screen? What was it about the story that made you want to work on this project? And what are your thoughts on the final product that world knows?

The script had been on the black list, so I may have been the 25th director to read it. I remember falling for David, Peter Sarsgaards character.  The man in the marroon four door Bristol, who offers to take Jenny’s cello out of the rain. I was deeply attracted to the meticulous description of coming close to and being abused by a sociopath, something most of us at some point experience. Lynn Barber, the real Jenny, very accurately remembered David’s not very good jokes and countless moving details, without ever being sentimal. Nick Hornby had made very precise choices and had a deep understanding of Jenny, who reminded Nick of his real life sister. Nick Hornby’s tone was and still is something I feel very familiar with and felt I could take through the film machine without damageing it.

Little by little, post war London had unfolded for me and the film got more and more layers. I wasn’t too worried about anything but protecting the tone and achieving authenticiy and quality. I had already directed a few films, but except for one they were all in Danish, so I was almost treated like a beginner when I arrived in London. The first day the producers gave me a bus pass which was a massive step down from my life at Zentropa Studios in Copenhagen. I decided to chose my battles and just focused on doing my very, very best in every single part of the process, but also never guildening the lily, the story about a series of losses of innocense. I kept reminding myself that, to quote Danish film director Niels Malmros, “on film it can be as engaging to see a girl’s dress get torn as a hundred soldiers get shot”.


Photo by Nicola Dove


Another film you directed that is an absolute favorite of mine, is one that happens to be written by our dear friend and past guest Gaby Chiappe, entitled Their Finest. Same sort of question, really. What drew you to this tale? What was it about this tale that made you want to bring it to life on screen?

Gaby’s script, adapted from Lissa Evans’ novel, had the same combination of humour and emotion. Amanda Posey, who first decided to film An Education, produced that as well.  This time I was more aware of portraying a young girl with ambitions of becoming a writer. Jenny from An Education, Emma from One Day, Lauren from the Riot Club and Catrin from Their Finest have a lot in common. It’s only when I list them, I know that I am like them as well. Catrin from Their Finest is the warmest of them and the one who is struggling the most, losing everything she has overnight during the London blitz.  Catrin works in film, so I had easy access to understanding the characters and their arena. The cast is phenomenal, even in the smallest parts. The producer Stephen Woolley is a complete expert on British film history and gave me many shortcuts into the incredible British WW2 films, Their Finest is inspired by. The film is the best technical challenge I’ve ever had, combining all formats from real footage of Dunkirk to our mock up 35 mm technicolour film within the film, which Catrin has written.

If you were handed the opportunity to create the biopic of any legendary figure from Danish history, who would it be?

Rose Tremain has written a masterpiece about the court of Danish King Christian the 4th, Music and Silence. But in general, I am not a fan of biopics. There are excellent ones, but I like fiction better and I’m in awe of the writers who write completely original material.

What does the future hold for you? Anything you would like to plug to our readers?

I’ve spent most of 2020 writing and will continue this spring. I’m also reading, hoping find a project with a strong plot and a strong production budget. Both would be such a luxury. I think I may have my best work ahead of me, though I think The Kindness of Strangers which is released on the 14th, has the humour, depth, originality and quality I aim for.

What was the last thing that made you smile? 

Thinking about Bill Nighy in a restaurant scene, when I wrote about the cast in Their Finest. He has unbeatable timing in The Kindness of Strangers too.

Sunday Matinee: Nasty [Short Film]


Hello Folks! For those of you who logged in just a couple of days ago, today’s Sunday Matinee will be of no surprise. We recently featured an incredible and insightful interview with filmmaker Paul Chart this past Friday, and we may have mentioned that he has a new short film that is currently in circulation entitled, Nasty. While it’s not exactly available to the public just yet, as it is still making the festival route, I simply could not wait to tell you all about it. It’s an incredible short film that feels as full as a 90 minute suspense thriller.

Actor Aaron Gleason, also known as Gilly Leads in the music world, gives an absolutely phenomenal performance as the film’s antagonist who whole-heartedly seems to not understand what the hell is happening to him as he is stalked by one would-be assassin, and guided his way out of the situation, voiced by the legendary Robert Forster , by another would have been assassin. While the premise may seem simple, we must not forget that this is a Paul Chart project nonetheless, so it is best to keep your expectations high, and be prepared to be pleasantly surprised.

Nasty, as previously mentioned, features a reunion of filmmaker Paul Chart and the dearly missed Robert Forster. And with that, I have to make a personal statement here. I have to sincerely thank Mr. Chart for allowing me to showcase a project that featured Forester in any capacity. Robert has always been, and will always be, at the top of the list for me as far as actors go. He has never failed. I first came to love him, coincidently enough, in Paul Chart’s incredible 1997 film, American Perfekt. Which was a film that came out decades after he started acting, but hey, I was 12, so how could I really know? That same year he appeared in my absolute favorite Tarantino film, Jackie Brown. And whether it was his surprise introduction in the shamefully cancelled, yet insanely brilliant, TV show Backstrom, or his incredible performance in the incredible Showtime revamping of Twin Peaks, he will always be a staple of a great man/actor should be. And to have the chance to showcase is work here is a real treat. So thank you Paul, you are an incredibly kind person as well.

Back to the film itself, although I want to leave this as spoiler free as possible, I do have to say that I can absolutely guarantee that if you have followed TWS for the last decade, you are going to love this film. It is suspenseful, dark, yet even has moments of comedic relief. It resolves itself brilliantly in a way you will never see coming.

So be on the lookout, Folks! Nasty will surely be hitting the digital platforms soon and I would implore you all to see it as soon as possible!


Oh, and one last fun fact for all of our regular readers here at TWS. Examine the above poster closely. Sincerely read the quotes, and see if you recognize a possible TWS alum? Can you find it?

Saturday Special: Stan the Man [Film]


“Stan Mann, a new money multi-millionaire, whose life consists of ladies, gambling and booze, lives at a 5-star hotel where the staff tends to his every need. Known as “Stan the Man” for his extreme generosity, he gets mixed up in a casino gambling scheme with Russian Mobsters and in one fateful bet, Stan loses everything. Planning to drown his sorrows in a bottle, Stan is critically wounded in a liquor store robbery, where he takes the bullet intended for the store clerk, Kristi. During a near-death experience in the ER, a slightly resentful Angel gives Stan 30 days to change his ways and redeem himself, and find his one true love.” – October Coast PR




I have been searching for the words to describe Stan the Man for quite some time. Well, maybe just a few days, but it is indeed something that hasn’t faded from my thought process. Initially I just wanted to say it is a “fun” film. Because it certainly is. Maybe delightfully cheesy? Yes, and obviously this is a compliment. But, when I really think about it, in my heart of hearts, I feel as though I should call this film “whimsical”. I think it fits. It’s a timeless tale of a man who seems to have everything, but the power of love can not be bought and all the while may be the most precious gift that this sometimes cold world can allow. And who doesn’t love a great second chance story? That is literally what we have here with this film. It’s literally the plot of the film. And I believe that it is done so amazing, incorporating just about every single romcom troupe imaginable, but manages to not be annoying for it. Which is a huge feat in my opinion, and something that everyone involved with the film should be extremely proud of for accomplishing.



Director/Co-writer and the dude behind Stan himself, Steven Chase was good in the titular role. But, as we tend to do around here at TWS, we have to give a shout out to the powerful female performances of Stan the Man. Dana Daurey is an absolute stand out during her time on screen. I’ve always said, publicly or not, that the best way to tell if a performer has done a great job is if you try to imagine another performer stepping in and taking over the role, and if it just doesn’t feel like it’s possible, that should be a pretty good sign that they were wonderful. I could say the same for Katherine Kelly Lang, who is of course absolutely phenomenal, but what else could you expect from the most seasoned and master of their class performer to appear in this film? Lang truly seems as though she doesn’t know how to give a bad performance, a quality that only the combination of time, passion, and natural born talent can create.

And then there is Anne Leighton, which if you couldn’t tell by the way I structured this whole thing, was my absolute favorite in the film. I feel that her character was deliberately set out to be the most loved character in the film, and Leighton grasped firmly onto this concept and absolutely nailed it. She was as absolutely delightful. I was actually aware of Leighton’s work, at least in one somewhat forgettable action film from a few years ago that doesn’t need to be named. But, I remember thinking that she was probably somebody to watch out for in the future. Well, it looks like the future is here, and I am seeing a perfect performance from one of the finest performers in the business. For those of you reading this who are in the business, PUT ANNE LEIGHTON IN MORE THINGS.

I implore you all to watch this whimsical and delightful movie. No, it’s not a 3 1/2 hour opus about political corruption and gangster squabbling, or a dark take on class warfare, but they don’t all have to be, do they? If you’d just like to have a little fun whilst acknowledging the power of love, I would highly recommend Stan the Man.


Stan the Man is available now on DVD & VOD wherever you purchase great films.



Paul Chart [Interview]



Today’s interview subject is a multi-faceted human being who has done some incredible work in so many different positions within the world of film. It’s Paul Chart, Everyone! Paul has been in the business for over 40 years and has accomplished some amazing feats in his time. One of these great feats was what initially drew me into the hopes of having him on the site to answer a few questions. This would be the 1997 film he wrote and directed entitled American Perfekt. It is an absolutely incredible film that has lived in my mind since I first saw it as a young man. It’s wonderfully written and features amazing performances from the likes of Amanda Plummer, Fairuza Balk, Robert Forster (RIP), and our new friend and guest of TWS, Rutanya Alda. It is an absolute classic film.

Through getting to know Paul a bit more, I have learned that he has a wonderful short film making waves right now entitled, Nasty. And Folks, it is WONDERFUL. Mr. Chart was kind enough to let me check it out, and I will be sharing my thoughts with you soon! Like real soon. Like Sunday. It will be discussed on Sunday. It will also be discussed below in the incredible answers that Paul was able to carve some time out his schedule to answer for us. So Folks, please enjoy some brilliant words from the great Paul Chart!




What initially drew you to the world of filmmaking? Was it something you had wanted to do since your youth, or did you just happen to find yourself in this world one day? 

The truth is, I can’t recollect a conscious time when I didn’t want to make films. From the age of about 4 or 5, I was totally obsessed. 

But what actually drew me? Two main reasons: One, a cliche, my childhood in London was a dark, dreary and lonely place to play in, and films offered me a glimpse of a completely different life, location and future. In short, they offered hope. Secondly, they also offered me control. I already suspected my thought processes were way too tangential and ill-equipped to navigate the conventional 9-5 life heading my way, and so I definitely needed a job that wasn’t a job. Film allowed me both a career and a way to make sense of that chaos. I was suddenly holding up a piece of film of someone walking across the room. I had another piece of mag film with their dialogue. Another with footsteps. Another with a ticking clock, etc. It gave the chaos around me a form and rhythm I could understand and control and even repeat. A way of making sense of my own story, and possibly offering something of value and entertainment to others along the way. Along with music, it saved me. 

As for getting involved in actual filmmaking, I had no idea what a director or producer did, let alone how to get into the industry. Movies seemed to be made only by highly qualified professionals, using complex and expensive machinery behind closed doors – and I was a working class kid with no resources and no filmmaker friends, acquaintances or relatives. And so I read books. Shot Super 8mm films on reversal, and learned how to shoot, process and print 35mm stills from negative. This was between the ages of about 8 and 14. My Aunt Yvonne also lived in Borhamwood and I would sometimes stay with the family. Elstree Studios was just a walk away, surrounded by a tall metal fence. But at the back, that fence was covered with bushes and trees. It was here that I cut a hole in the fence and would secretly walk the back lot when nobody was about, trying to figure out how everything was built. The excitement was unexplainable. It still gives me shivers thinking about it now. 

And then VHS arrived, and a certain amount of Heaven entered real life. I could now watch more movies than ever. One or two a day .. more if possible. So by the time I was offered my first industry shot, despite having no experience, I was fairly well educated in film history and production, and roaring to go. Maybe I’m now simply addicted to film. When I’m not writing or shooting or editing or something, I certainly suffer some kind of withdrawal effect. Therapy would probably help, but then I figure the films would be a lot less interesting. Plus I’d be forced to write crap to pay for the sessions. 

Best stay addicted to film and work out my issues that way. It’s the devil I know. 


What was your first paid gig in the world of entertainment? And were there any sort of lessons learned from this project that you still value to this day? 

My first professional gig was writing a feature for The British Film Institute called White Lies. Although, that didn’t just happen overnight. There was a considerable lead up to it. 

I was studying for an Honors Degree in Fine Art at Sheffield University, and one of the reasons I’d applied to that particular college was that it also happened to have a half- decent film department which nobody really used. So every weekend, I’d take out as much gear as I could, and get to know how it worked. Before long, I was shooting 16mm neg and reversal, and recording sync sound with a Nagra. Can’t tell you how exciting it was to look across the room and see actual real film gear in a box in my own apartment. Anyway, while at college, I managed to earn a couple of Fuji scholarships which financed a couple of short films. Both films, a comedy called Hand in Hand (made with wonderful Glaswegian filmmaker Jim Shields), and a musical spy thriller called Foreign Bodies. The films ended up being screened at BAFTA, and picking up some awards and attention, the most important of which was some fantastic support from Sir David Puttnam, the most respected and influential British film producer of the time. Puttnam took me under his wing, and introduced me to Colin MacCabe at the British Film Institute. Within a few weeks, I was writing my first feature for the BFI, White Lies

Through Dave Puttnam I met Patsy Pollack, Joyce Gallie, Mary Selway and a whole host of other amazing UK casting agents, actors and artists. Through Joyce, I was introduced to writer/producer Joshua Sinclair (Night Porter, Shaka Zulu) who flew me to Vienna a couple of times to work on my first ‘international’ picture, a plotical thriller called Judgement in Berlin (aka Escape to Freedom). I was originally hired to rewrite Sean Penn’s dialogue but ended up rewriting the whole script with Joshua. 

Those two very different job situations were the first ones that introduced me to the professional film world, and also ultimately bought me to Hollywood where I met my longtime mentor, and close friend, director Irvin Kershner (Never Say Never Again, Empire Strikes Back). Kersh had a formidable reputation as a man who did not suffer fools lightly, and I remember that first drive up to his house being a long and nerve-racking one. All for no reason, however. 

Kersh wasn’t so much gruff and loud, as he was passionate and childlike and intent on getting his shit right. He was also incredibly well-read and had a wicked sense of hunmor. We hit it off from the moment we met, and he immediately hired me to write a huge remake of Forbidden Planet – the first of many projects we collaborated on. Kersh also later produced my debut feature film, American Perfekt

This was all still relatively early on in my career – and what did I learn through all this? Well, there was the physical stuff – which I loved – like how to load film and operate a pro camera, record, edit and mix sync sound, organize a crew, create a budget and schedule, work gracefully under pressure and without sleep, and make sure everyone gets fed (that last one might actually be the most vital). 

Philosophically, however, and I don’t want to sound cute, but the most important thing I learned from all this, was that virtually anything was possible. I mean, as a kid from London, making films was just a dream. Yet here I was, in Hollywood, working with actors and directors I’d admired for years, while constantly shoving my own jaw back into my face in disbelief. That’s the thing I most like to pass on to any prospective filmmaker who feel such things are out of their reach. For despite the film schools and plethora of hyperbolic and technically adept students and social networkers with unprecedented access to amazing new digital gear – there are still dark and lonely places where meeker souls dwell. Souls who have interesting stories and unique points of view to offer, but who might never venture forth into filmmaking without a small shove and a gentle enthusiastic compliment.


“American Perkect” (1997) on set.


Your 1997 film American Perfekt was one of those absolute gem of a films that came out when I was young and very interested in the world of indie film. And it truly holds up. It is bizarre yet beautiful tale, and I am curious to know what inspired you to bring this story to the screen? Was there something personal behind this storyline? 

Firstly, thank you for the kind words. 

American Perfekt was an idea born out of my experiences in Thatcher’s Britain during the 80’s. It was ostensibly a warning about how relying on any one absolute system of reference for navigating life’s metaphysical challenges might ultimately breakdown and cause one to simply throw the baby out with the bath water in a desperate effort to change the direction of one’s life at any cost. 

At the time, Thatcher had promised to save the country by running it as business – which gave many a feeling of control and security. Issue I had, was that a business is not a democracy. It’s choices are ultimately governed by profit and loss, not compassion and justice for all. This direction seemed to embrace autocracy. Autocracy, historically, does not enjoy giving up power, and will lie, subjugate, dismiss and belittle any opposing voice it sees as a threat to it’s continued survival. That was the political climate which initially created Perfekt. Cut to America in 2020. The film is possibly still relevant. 

American Perfekt also posed the idea that we are all equally good and bad, all able to be friendly, to help those in need and be kind – and also able to be cruel, hate and to kill. It’s the freedom we have to make those choices which ultimately make up our characters. Perfekt was designed, therefore, in two juxtaposing parts. Two sisters faced with similar challenges, make different choices and behold different consequences. I even originally considered casting Amanda (Plummer) as both sisters. 

As for it’s physical production, I’d just landed in America with a dear friend of mine, John Conway, and we needed to make a cheap first feature – and how complicated could it be to shoot in the desert? Well, more complicated than you’d expect. But what really made a complicated script work was Robert Forster. I needed someone so comforting in the lead, that even if you turned around to find them standing over you with a bloody knife, you’d still only expect it was for thoroughly benign reasons. Luckily, I met Bob within the very first few weeks of arriving in LA. I not only knew I had my lead, but it was the beginning of a beautiful friendship 

Trouble was, even though everyone recognized Bob’s face, he was not box-office at the time, and when the script began receiving attention, the pressure was on to cast a bigger name. Plus – as is common- it made more sense to make the pic for a decent budget so folk could walk away with a decent fee even if the pic tanked. This was when it clicked to me that a 5 million dollar film with people taking large upfront fees, is almost the same as a one million dollar film with everyone taking scale and percentages. With that bold, and naive notion in mind, I called every other actor up and asked if they could take scale so I could use Bob in the lead. To my utter surprise and delight, everyone – Dave Thewlis, Amanda Plummer, Fairuza Balk – and everyone else involved – said, yes. Amazing actors, wonderful people, dedicated artists – all focused on making the best film possible. I still remember that night. It changed everything. 

So, anyhow, I recalculated the budget with a producer friend of mine, Andrew Schuth, and took this crazy film, with a great cast for an unheard-of tiny budget, to Irvin Kershner, who in turn, took it to Nu Image, where the mixture of names, genre and budget convinced them to finance a totally fucked-up film. 

Now Nu Image mostly made low budget exploitation films and ran a hard-core, no-nonsense business – and I was an ‘artist’ trying to project a ‘vision’. My relationship with them was, therefore, complicated, mostly my own arrogant and fearful fault – What I must say, though, is that Avi Lerner, Boaz Davison, John Thompson and the rest of the Nu Image team never messed with my cut of the film, and they deserve a lot of thanks and respect for allowing such a film to be made – for any budget. The fact it ended up being chosen for Cannes among many other major Film Festivals also kinda blew a lot of people’s minds at the company (mine included), and I like to think it was helpful to Nu Image, too. I certainly remain grateful. 

As for how I approached directing the film – I grew up watching a lot of great movies, but I often felt I learned more from the ‘bad’ ones, mostly because there were so many elements I imagined how I might personally ‘improve’ if I was to have a go. As time went by, however, I began to see these ‘faults’ less as negatives, and more as unique character traits of the filmmakers themselves. To this day, I still love Fulci, Deodato, Lenzi and countless other directors as much for their moments that don’t quite work, as anything wonderful thing they’ve also succeeded in pulling off – a quality I find missing in pictures so well groomed and pre- visualized that personality is often forfeited for technique and spectacle. I’m not for bumper stickers, but I like the one that goes: We admire people for their strengths, but connect with them though their weaknesses. 

Consequently, if I was directing a scene in Perfekt, and knew how to make it work by emulating a scene from another film, I consciously threw the concept out and started again, until I could find an unexpected element of risk in every shot and every scene. Theory was, that some of this was gonna work, while other scenes may fail – but if the value system was consistent, and all my choices were distinctly my own, I might at least create a unique and intriguing total atmosphere – possibly full of faults but distinctly a consistent vision – which was what I always enjoyed most about the films I loved and remembered. They didn’t need to be perfect, so much as Perfekt

In keeping with the major themes of chance and fate, some elements also had to be completely surprising, while other elements had to remain almost infuriatingly predictable. 

That was only fair – the yin to the yang. Sorry (but not really) if that bothered some people. 

In the past, their have also been some other question about Perfekt I can maybe answer. 

No, I have never read The Dice Man, and it never played a part in the creation of the script. 

Although Perfekt preceded No Country For Old Men (both book and film) by several years, I have no idea if the Coen’s, or Cormack McCarthy, ever saw it, or drew inspiration from it. You’d have to ask them. I like the Coen Brothers’ work, however, so whatever, more power to them. 


“American Perfekt” (1997) on set.


Throughout your career, you have worked in what seems to be every position available. From writing and directing, to editing both film and sound, and beyond. With that I am curious to know what is your favorite aspect of filmmaking? If you were forced for one reason or another to only do one gig for the remainder of your career, what would it be? 

God, I love it all. Recording sound, photographing, editing, production design, special effects, the music. Except for acting (I don’t like being in front of the camera). Every facet of the process has something glorious and fascinating to offer. And it still kinda surprises me that so many directors don’t have more of a general knowledge (or even interest) of overall film production. The more you know, the more tools and skills you use to realize your vision, the less mistakes, and the more choices, you can make. Each of these skills are also simply a means to an end – that end being the finished film – so my interests in all of these facets probably simply comes under the heading of direction. Directing is probably where I’ll spend more of the future. Writing can take forever, and I have too many scripts already sitting in a drawer doing nothing as it is. I’m also very open to directing other people’s scripts. Budget or genre isn’t a factor. Only originality. I recently created a production company, Lionhart Films, specifically designed to make unusual films. The first film I directed for the company, Nasty, stars Robert Forster, and was dedicated to Kershner. 

If you were given the opportunity, as well as an unlimited budget, to write and direct the biopic of any legendary figure from world history, who would it be?

Sorry, don’t have anyone legendary I’d want to make a biopic about. 

My personal interests are far more insignificant and peripheral. I am drawn, however, to making a film about NY indie director Andy Milligan. Now there’s a filmmaker who fascinates me – on so many levels – and I am proud to say I probably own one of the world’s largest collection of Andy Milligan films – including mint 16mm prints of Legacy of Horror, and The Rats are Coming! The Werewolves Are Here!, a fact that will only impress about five people in the known universe, but still makes me giddy to think about. I imagine, however, the audience for such a pic would be pretty small. 

What does the future hold for you? Anything you would like to plug to our readers? 

Many new projects in development, or about to go into production. Too numerous to mention them all … 

A feature adaptation for Walter Mosley’s controversial novel Killing Johnny Fry produced by Walter Mosley (Devil in a Blue Dress) and Denise Grayson (The Social Network), an epic sci- fi TV series called The Fourth Kingdom produced by Vince Gerardis (Game of Thrones) and Todd Garner (Aquaman, Mortal Kombat), a paranoid political thriller set in 1930’s Paris cafe society called Fay White’s Book of Monsters exec produced by Matt Kennedy, a music documentary following David Bowie’s ex band as they cover and re-record classic Bowie track “Rock and Roll with Me”, and a short thriller I wrote and directed called Nasty, also produced with the great Denise Grayson through my new production company Lionhart Films starring Robert Forster, Lisa Pelikan, Aaron David Gleason and Lenny Von Dohlen. ‘Nasty’ is currently screening at festivals across the U.S. 

I also recently finished the scripts for Six Million Dollar Detective, a neo-noir detective story about a ageing detective who gets rebuilt by a bunch of low-end plastic surgeons, and thrown back onto the streets of Hollywood to finish off a case in spectacular fashion, and a giallo thriller called Clean Me about a late-night DJ who comes to the conclusion his new apartment is either haunted, or he’s sharing it with a cleanaholic madman who refuses to ever reveal themselves. 

The next studio feature film I develop, and will also direct, however, will most likely be The Flint Heart, a large budget, highly irreverent adult fantasy along the lines of Princess Bride from the book by Edon Philpot and Catherine Paterson (Bridge to Terabithia). 

And, of course, anyone out there with a new and interesting project they wanna run by me. I’m all ears and eyes … 

What was the last thing that made you smile? 

Well, that’s easy. Picking up my kid from school today – and watching them walk along the road towards my car. Oh, my God, you can’t beat that kinda love. Oh, and the 5k digital movie camera sitting on my work desk right now, complete with matte box, follow focus and a gorgeous set of prime lenses. Thrills me as much as the 16mm NPR I had sitting in my damp Sheffield apartment so many years ago when I was a student. Some things don’t change.



Being ever so kind as he is, Paul Chart was gracious enough to share a few photos from over the years from American Perfekt and Nasty, which were discussed in our interview. Please enjoy!


 American Perfkect











Peter Rowe [Interview]


Today’s interview subject is a man who did one specific thing that initially made want to have him on the site. And oddly enough, it was an acting gig, which turns out to not really be his main gig. It’s actually Canadian filmmaking legend Peter Rowe! And the acting gig I am speaking of was also wildly specific, which was his portrayal of the late and brilliant Hunter S. Thompson in the docuseries Final 24. I will admit, it’s not the most glamorous interpretation of the final days of HST, but I was still so intrigued to ask the man who was tasked to portray the ailing Thompson in this series how that experience was to do so. So, I hit up Mr. Rowe and graciously enough he accepted our invite. Which is something we are always so grateful for here at TWS. Tomorrow, Feb. 20th, is actually the 15th anniversary of Hunter taking his own life, making many of the events that Rowe depicted on screen, 15 years ago today. It’s so hard to think about such a loss, but knowing it was Hunter’s choice should give us a bit of peace, I suppose.

And as I began to do a bit more research on this fella, I came to learn that Peter has done some amazing work in just about every field imaginable in the world of film and television. From writing and directing to special effects consulting and cinematography, there really isn’t anything that this man can’t do! For over 50 years, the 3-time Gemini Award nominated Peter Rowe has been bring so much joy to the world through his work, and we are so excited to be able to share a few words from him today. So Folks, please enjoy some wonderful words from the brilliant Peter Rowe!




What initially inspired you to get into the world of filmmaking? Was it something you had dreamt of doing since your youth, or did you happen to find yourself in this world one day?

There was very little local filmmaking going on in my youth. Instead I first worked in live theater – three seasons of Summer Stock theater in the U.S. and Canada as an apprentice and Assistant Stage Manager and Lighting Technician. There were no film schools at that time, except for UCLA, USC and the Lodz School in Poland, and since none of them were in the cards for me, I instead attended McMaster University  in Hamilton, where I pretended to study philosophy and in reality became film reviewer for the student newspaper, and then one of the founders of an underground filmmaking group we named the McMaster Film Board. We managed to scam some money together from the university to be able to make a number of films, some of which I directed, others I photographed. Our group attracted a number of budding actors and filmmakers, some of whom, such as Eugene Levy and Ivan Reitman went on to Hollywood fame and fortune. One of our sexy wilder efforts led to some notoriety, including a lead story in the big newspapers and on the CBC National News, which led me to…


What was your first paid gig in the world of entertainment? And were there any sort of lessons learned from this experience that still affects your work today?

My first job in the film biz was working as an assistant film editor and projectionist at the CBC. Realizing that if I stayed there it would be a very slow rise through the network, I left after three months, and then, with the help of my calling card underground experimental film made at McMaster, joined a wonderful film company / film co-op called Allan King Associates, run by iconic doc maker Allan King and his filmmaking partner Richard Leiterman. I got to work on many films there, and most especially got to produce and direct my first feature, which was titled The Neon Palace. From there I continued to work as a freelance filmmaker both on projects I initiated and ones I did for others. I’ve made over 190 films, including ten features, such as Treasure Island, with Jack Palance, The Best Bad Thing with George Takei and Lost!  with Ken Welsh, Helen Shaver and Michael Hogan. In the 80’s and 90’s I mostly did dozens of episodes of dramatic television series. In this century I mostly have done documentaries. My most notable was 49 episodes of the series  Angry Planet. In 2013 I wrote a book about it all titled Adventures in Filmmaking, that is available on Amazon. The book gets lots of great reviews, and so did most of the films.



I recently caught an acting performance you gave on the series Final 24 in which you portrayed a personal hero of the mine, the late Hunter S. Thompson. I am very curious as to how this experience was for you? What kind of research went into the process of becoming such a legendary figure?

Through my career on stage and in film I continued to dabble in acting. In 2006 I learned of the series Final 24 and that the producers were planning a one hour special on the last 24 hours of the life of Hunter S. Thompson. I auditioned for the lead part and got it. I simply researched the part by re-reading the books of his I had read, and reading the early ones (like The Rum Diaries) I hadn’t. It was generally a ball shooting the film. Snorting  cocaine (icing sugar), guzzling bourbon (apple juice), berating my “wife” and generally behaving like an asshole, improvising wild dialogue, shooting guns (blanks, but still fun) and blowing stuff up – what’s not to like? It was a strange shoot for me, because my own father had died in hospital the day before the first day of the film, and Thompson killed himself, he claimed, because he didn’t want to end up like his father, lying in a hospital with a dozen tubes stuck in him. I did it in tribute to my father, a writer himself, and though no fan of Thompson or television, was a big supporter of my filmmaking and a believer in the showbiz adage that the show must go on. The film is available on YouTube.


If you were handed the opportunity to create a biopic, with unlimited resources, of any legendary figure in Canadian history, who would it be? 

It isn’t a hypothetical question. For years I have been trying to make a film about the world’s first movie star, Canadian born actress Florence Lawrence. My film is not a biopic but rather a re-imagination of Lawrence’s life, based on the novel by William J. Mann, titled Biograph Girl. Instead of our story ending with a Hollywood suicide in the 1930s, as the real one did, our film imagines that she did not die but instead was rediscovered in the 1990s and then turned, by a down-on-his-luck documentary filmmaker into a star (of TV and tabloids) all over again. My partner on the project is Canadian star actress Jennifer Dale, who’ll play Lawrence. We’ve had fun doing about 15 drafts of the script. It’s a good one. Who knows, at this point, whether we’ll find the financing to make the film, but we keep working on it.


When you look back on a career spanning over 50 years in the business, what would you say you are the most proud of when you look back on it? Not one project in particular maybe, but your career as whole.

I am very pleased that in the sometimes shaky world of filmmaking I never had to “get a real job” and instead continued to keep working and have fun in a biz where every day is different from the last. I’m also pleased to have two daughters who have continued in related fields, one as the co-anchor of the evening news at WKBW-TV, in Buffalo, and the other making expedition films and teaching adventure filmmaking on National Geographic Society student expeditions. As for my own projects I’ve enjoyed almost all of them, but probably none more than filming adventurer George Kournounis as he hosted my series Angry Planet, filming in the most remote parts of 40 countries on all seven continents. Its available on Amazon Prime.



What does the future hold for you? Anything you would like to plug to our readers?

I’m focused these days on two things – painting – I paint mostly pop art work that I display in Toronto galleries and on my Instagram (peterrowepicsandpaint) and Facebook (peter.rowe.123276) sites, and writing. I am deep into a new book titled Music vs The Man, that is about the long-running contentious relationship between musicians, singers and bands, and the authorities – police, border guards, mayors, the FBI, the Kremlin, etc. Hope to soon have a publisher for it.


What was the last thing that made you smile?

Probably an episode of The Simpsons (over 30 years of brilliance) or maybe Jiminy Glick (Marty Short, also a McMaster alumni, is the greatest ever). Or maybe Colbert or one of the other late night comic geniuses. We live in a crazy age of politics that has led to a golden age of both comedy and journalism.

New Music Tuesday: Eamon Ra – Meat Bones Chemicals Electricity [Album]


Hello Folks! And welcome back to our latest (and far too infrequent) edition of New Music Tuesday. Today we are showcasing an absolutely brilliant singer/songwriter who is bringing the brilliant pop rock vibes of yesteryear back for your patient ears. It’s Eamon Ra, and hot damn if he doesn’t have a sound that you all should have been begging for over the last few years. This Emerald City legend is putting out his first solo album after so many years working with some of Seattle’s finest artists, as well as around the globe. Meat Bones Chemicals Electricity is actually a rather appropriate title (go figure, haha) for this scattered yet very organized feeling album. With blends of psychodelic 60’s rock with noticeable Folk centric core. And it’s all wonderful, Folks.



There are some things about this incredibly unique for our time album that will not surprise the avid music listener. And this is a compliment. Beautifully sung songs about sad thing, good thing, and all of the little messes we make in between. Eamon writes the hell out of a pop song that perfectly infiltrates lyrics into a signature sound. I say signature, because in this day and age, musicianship doesn’t seem to be a factor that anyone cares about any more. His sound harkens back to the 60’s when experimentation was key, yet stuck to a folk rock format that was recognizable and delightful. Thus to say, Eamon Ra is a musician still stuck on the idea of creating a great sound for the sake of great art. And we truly appreciate him for it.

While the entire track list is solid, I feel in my heart of heart’s that nothing encapsulates the sound that might very well define Eamon Ra himself like ” Simple But So Complicated”. It’s not the final track on the album, but I truly feel as though it real sums the entire concept of Meat Bones Chemicals Electricity as a whole. The eccentricity and the catchiness collides to form a beautiful cloud of sound that is absolutely delightful.

So check it out, Folks! I know it may feel like it’s impossible to find new music to get blown away by, but if you dig deep enough, I promise you it is out there. And Eamon Ra’s Meat Bones Chemicals Electricity is sure to be exactly what you are looking for.


Meat Bones Chemicals Electricity will be available on March 6th wherever you purchase great music.