(RockAndMetal.com) (02/17/04)

By Michael Bennett

LOS ANGELES, CA, USA - Denmark Neo-Psychobilly band THE HORRORPOPS' debut album, "Hell Yeah!" has been released by Hellcat Records.

It must have been with some degree of daffy glee that the popular Danish bands Peanut Pump Gun, Nekromantix and Strawberry Slaughterhouse were stirred together.

That is, after all, the only conceivable explanation of the Daffy Duck coppin'-feels-off Divine delight-and-surprise vibe that resonates in "Hell Yeah!"

Fact is, The Horrorpops are a straight up Rock 'n' Roll band, with their roots buried deep in 80's new wave, old-school punk and 50's rockabilly.

The band is led by patricia on slapping upright bass and lead vocals, features Kim Nekroman on guitar, and also stars the always late & sick duo: guitarist Karsten and drummer Niedermeier.

Last but defiantly not least, the band is flanked by the totally rotten Go-Go dancers Mille & Kamilla.

If you like bands like Blondie, Siouxsie & the Banchees, The Ramones, The Cramps, The Nekromantix, Tiger Army, Reverend Horton Heat, Wanda Jackson, and/or Depeche Mode, then "Hell Yeah!" is a must-have for your CD collection.

The Horrorpops hail from Copenhagen, but the demon seed was planted in Cologne, Germany at the 1996 POPKOM Festival.

patricia, PPG's singer-guitarist, and Nekromantix singer-bassist Kim Nekroman met and discovered mutual affection for the sounds of Blondie, Depeche Mode, Siouxsie and the Banshees, surf, punk, ska, and good ol' rock 'n' roll.

They taught each to play the other's instrument, and pledged to write songs that held no loyalty to any particular style.

"We didn't want to be categorized," says patricia.

Where Peanut Pump Gun and Strawberry Slaughterhouse (from whom the band pilfered drummer Niedermeier and second guitarist "Caz the Clash") dwelled within the punk/alternative genre, and Nekromantix was psychobilly, The Horrorpops were to be "basically, um...good old fashioned rock and roll."

She reasons that everything The Horrorpops incorporate into their sound goes back to that one category, and connotes the same spirit and principles.

"When you look at subculture today, not many can say they're purely punk, oi, psychobilly, new wave, ska, or heavy metal."

"They all dig Billy Idol, anyway. We just wanted to say that out loud."

In 1999, two songs, 'Ghouls' and 'Psychobitches Outta Hell,' from The Horrorpops' 7-song, press kit-only demo, found popular affection on the Copenhagen club circuit.

Bolstered by the addition of ghoulish go-go dancers Mille and Kamilla (patricia's co-workers at a Copenhagen piercing studio), they continued to play to fervent crowds throughout Europe and Scandinavia.

Early 2003 saw the band hunker down in Ventura Recording in Christiania to lay down six more tracks for what would become "Hell Yeah!"

The free-for-all environs proved especially conducive to the recording.

"Christiania is an old military ground that got taken over by hippies in the 70's," explains patricia.

"It has its own laws; they're not part of the EC, they're a society with their own rules -- unfortunately, it's stormed weekly by cops, politicians, and other disgusting elements."

"I don't think that there could be a place more suited in the whole world for The Horrorpops to record at, especially 'cause it goes so well with The Horrorpops slogan, 'No rules!'"

Although "Hell Yeah!" was recorded over 2001-03, The Horrorpops' autonomous handling of the production duties ensured a seamless, unbound, relentlessly fun vibe.

patricia's punchy upright bass propels songs that are defiant of categorization; they are at once more than and exactly elemental rock tunes.

'Julia' and 'Cool Flat Top' play to the band's 'billy side, alive with hepkitty spunk;

'Psychobitches Outta Hell' slinks along with a tribal, "Peter Gunn" covertness;

'Girl In A Cage' mixes Josie Cotton 80's-style pop with ska;

'Horror Beach' is the classic scary surf instro;

'Ghouls' is exuberant alt-pop -- Debbie Harry's head sewn onto Gwen Stefani's body, if you will;

'Where They Wander' is classic punk rock with an anthemic chorus and hot "whoa-oa-oa-oa-oa" backups.

Most of all, though, "Hell Yeah!" most pleasantly reeks of immediacy.

"We are geeks when we enter a studio," says patricia.

"We love nerding around just as much as we love partying."

And somewhere in the midst of that, they write the songs.

"I don't ever think we are gonna be a band that can do songs in advance. Just like babies, usually they aren't planned."

Once the recording was done, Strawberry Slaughterhouse singer Karsten replaced Caz the Clash, and Nekroman took it to friend and Hellcat honcho Tim Armstrong, who said, "Let's do it!" and signed The Horrorpops to the label.

The next order of business is to send them on tour, get their crazy show in front of U.S. audiences (at least, more than a three-week introductory tour in summer '03).

Horrorpops shows are storied throw-downs. patricia explains it best:

"We are just playing our asses off and try to have as much fun as possible.

The band is rocking, the go-go dancers are all over the place -- they're fucked up.

These babes are not your usual stripper-style go-gos, but more punked-out street go-go's, still very sexy but, sweaty, cross-eyed, and intimidating.

And they make funny noises in the microphones. They're really rotten."

"The most-often comment made over here from people watching the show is "You guys are crazy, so much stuff goes on onstage that you never know where to look or what to expect."

Musically, she says, it's the same thing.

In sound and vision, The Horrorpops are "straight-up rock 'n' roll," completely unpredictable and as sweet as it is volatile.

"You can hear a bit of Blondie, Siouxsie and the Banshees, Ramones, Cramps, Tiger Army, Reverend Horton Heat, Wanda Jackson, Billy Idol and Depeche Mode in it.

I think everybody, no matter what kind of music they like, they will find something in The Horrorpops that is for them."

What's in it for The Horrorpops?

"We really need to break some rules, and flip a finger to all the freaks in uniforms that put down laws to what subculture music is all about."

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