One short year after playing their first show in early 2009, Philadelphia based rock power trio Thee Nosebleeds were at Noisy Little Critter Studios with engineer Mike Bardzik throwing their high octane, “first take” all into an electrifying 13-song self titled debut on Human Inhhuman Records that brilliantly mirrors their intense live experience.
Philly rock fans looking for a schedule of gigs at the typical hipster hangouts will have to check elsewhere. True to their DIY, against the grain musical spirit, the band—Kermit Hell Lyman (lead vocals, guitar), Rev. Kevin J. Cooper (bass) and Zach The Knife (drums)—has been enjoying the heck out of taking the much cooler “low road” to success, building a following playing seedy dive bars, barbecues and house parties. Likewise, to get this organic vibe across on disc, Thee Nosebleeds indulged in very few studio excesses (no vocal harmonies or heavy effects) to create what they deem a straightforward rock record. One of the set’s most melodic tracks, “As Fast As You Can” is already receiving steady airplay on HYPERLINK "http://www.live365.com" www.live365.com.
Although the band itself is only a year and a half old, each member has a long resume of playing and touring in other bands and Kermit and Kevin have been playing in various ensembles together over the past 15 years. Kevin and Zach, who still currently play with the group Mikingmihrab, heard Kermit performing a live acoustic showcase featuring songs that would ultimately become the core of Thee Nosebleeds’ debut: “South Street Shooting Spree,” “As Fast As You Can,” “California” and “13 Days.” “As Fast As You Can” was written by Kermit and Kevin when the two were on tour with The Rusty Nails.
Kevin and Zach liked the tunes and thought it might be fun to start building them into full on rockers. Soon they started writing new songs together and playing live; as the chemistry developed and the creative side took on a life of its own, the three musicians’ quickly developed the distinctive Thee Nosebleeds sound. Depending on people’s perspectives, some have called that “punk,” some “metal,” but the guys see themselves as a rock band. Primary influences include Mule, ZZ Top and Motorhead. Borrowing a well known phrase, Kermit says, “We play both kinds of music. Rock and roll.”
Once they had their sound going, choosing a name presented some interesting challenges. In line with the full tilt rocker “Whiskey and Cocaine” (about the enjoyment and repercussions of such indulgences), Kermit’s first whimsical thought was “Cocaine Jones and the Nosebleeds.” Thinking that might get them pigeonholed, they shortened it to The Nosebleeds, only to realize that Morrissey’s pre-Smiths band in the 70s had the same name. Taking their cue from Thee Headcoats, a quick adjustment with an extra “e” on “Thee” set this new group apart.
Other key tracks on Thee Nosebleeds’ debut include “Motormouth,” a tune driven by riffs and off the cuff lyrics about having a good time talking for hours with a special lady; and the expansive, instrumental passage heavy closer “Goner,” a ten minute “magnum opus” about paranoia.