• First, we’re happy to have you here with us on Rock Era, hope everything is going great.

Thank you – everything is going okay – but we are hopefully moving into something that could be labelled great. 

• Releasing five records is not an easy job especially with two of them being concept albums, how did your sound progress reaching Liontamer? What makes each one of your records stand out? 

 I was a relatively young man when we recorded Naja Naja. It was my first record and of course it was quite a big thing for me. I wanted to make it really wide in scope – there had to be something for everybody. And there is. Rockers, ballads, semi-epics even! 

 I had very high hopes for Naja Naja – and it got some rave reviews. But nothing really happened. I wanted the follow-up A Girl And Her Giraffe to be a rock album with a pop sensibility. We trimmed almost all the fat from the songs to make them overall leaner. I wanted every song to be a hit. Of course that did not happen. 

 Before we even began recording GaneShaMan I knew that we were going to make a really hard sounding album to fit the overall (and weird) concept about three old friends floating in and out of consciousness in their hospital beds while being taught and taunted (a bit) by Ganesha. Heavy subject matter, heavy riffs and sounds. Making it was one of the most exhausting experiences in my life for a myriad of reasons. But I am very proud of that one and the work we put into it. 

I produced Underdog Chorus myself – a wonderful learning experience. There are a lot of little blemishes – but the songs are catchy. In the beginning the plan was to make a pure power pop album. A couple of songs in I could not help myself and threw some harder stuff in as well. GaneShaMan is quite bleak – Underdog Chorus has a more upbeat and positive overall message. And I am proud that I let my self be vunerable and adventurous at the same time. 

I recorded Liontamer while I was also working on Underdog Chorus – but they are quite different from each other. This was also the mean reason why I didn’t “just” put out a double album. Liontamer was recorded in a very relaxed environment even though there is much tension in the songs. Marco Angioni produced and did a wonderful job. He is also quite funny (almost as funny as myself!) and makes the best coffee. 

I had decided to record lead guitar myself which was fun. But I am no shredder – I like melodies much more than speed. I don’t want to show off on guitar. Well, I CAN’T show off on guitar!  

I would like to thank Klaus Agerbo for his drum work on Liontamer. I was there when he recorded the drums and it was a very organic approach. He is a beast on the skins for sure.  

• Liontamer offers a diverse range of sounds and elements from alternative to heavy, sludge, and even some subtle punk-ish twists, I’d like to know more about your early influences, and which ones shaped the writing of Liontamer? 

I have written songs as long as I can remember. But here is a cute story about the first band that really inspired me. I first experienced with them at a sock hop when I was ten. The DJ started playing this INSANE song – a guitar going widdle-widdle-diddle-diddle with drums and shouting following. And then the singer began singing. I thought to myself that it was The Devil screaming. But it was just Brian Johnson. The song was Thunderstruck by AC/DC. I bought a bootleg copy of their The Razors Edge album in Poland on holiday. That set the ball rolling.  

There are a lot of musicians, writers and producers I admire. Those around me can attest to me talking about The Beatles twice a week at the least. It also (almost) goes without saying that I love King’s X, The Who, The Cure, Pink Floyd… The list goes on and on. 

While writing Liontamer I listened to Jawbox, Quicksand and Fugazi on the alternative side and Sleep and Trouble on the heavier side.  

• As Liontamer digs into the theme of communication gone wrong, how did that reflect on the song’s writing and lyrics? 

I would love to say that it was quite a thought process – but it certainly was not. Not to say that I didn’t put effort into writing the lyrics. But inspiration was all around and just needed to be filtered. I saw friends stopped being friends, wives leaving husbands, families destroyed by addiction. All the while politicians talked, wars barked and I just wanted to play some rock. 

• How does your writing process usually go? And were there any changes in your process while writing Liontamer? 

Beside from having a go at lead guitar and adding some noise rock elements everything was as it always has been. Most of the time the songs just appear and I just need to add and subtract. Other times I have to dig a little deeper.  

• How did your decision to release new music each month affect your creative process? What did you adjust in your usual process to keep up with that decision? 

It gave me a chance to experiment a little more than I usually do. I could afford to make some “uglier” songs. An album is quite the undertaking – but a couple of songs that stand on their own can be a bit of fresh air. Having to meet a deadline also keeps me on my toes. I like the discipline.  

• How would you describe your sound? 

I think we are on the heavier side of classic rock with a little toe occasionally dipping into metal, noise rock, punk or whatever. 

• If you could choose one song from Kuko De Kobra‘s catalog for someone who wants to get into your music, what would it be?

Oh, what does that person like? If it was a casual radio listener I would choose “Where You Are Going” from Underdog Chorus. If it was a hard rock/metal head I would serve a slice of “Educated Wallower In Fascism” from GaneShaMan. If it was someone’s mother I would serenade her with “Melanin” from Naja Naja.  

• With the addition of Thomas Hesselholt on guitar and Kasper Neubert on drums do you have any live gigs planned?  

Yes – a few under our belt and more coming. I am happy that we are up and running. 

• What are Kuko De Kobra‘s plans for 2023/2024? 

Hopefully more gigs and recording with the new line-up. I want Kuko De Kobra to be our band – not my band!  

Thanks for your time, I wish you the best of luck. Cheers! 

Kuko De Kobra kickstarted Liontamer with Shotgun Democracy, a perfect opener with intimidating, building-up riffs and a smooth groovy pace. Shotgun Democracy promises a heavy record to come, as Kuko De Kobra‘s heavy, steady riffs are mixed with melodic guitar licks, powerful vocals, and banging drumlines in a fluid classic heavy metal structure. Starting off with some chill arpeggios, The Rain is Coming Down Hard comes next. It has a warm flowing pace with a catchy harmonic chorus and an escalating sound, I believe this sing-along chorus will initiate some cool moments when played live. The Rain is Coming Down Hard has strong old-school vibes that are mashed with its modern production, offering a unique entertaining mix with a deeply emotional touch. Bullshit Detector steers towards a heavier sound with alternative vibes and a classic 90s/early 2000s vocal melody. It has a big sound that gets even bigger and catchier as it progresses into an epic, multi-layered one with interesting movements, showing authentic skillful writing and an open mind for experimentation by Kuko De Kobra. And A Hole Burnt Through The Cigarette Itself comes next picking up with its predecessor’s energy. It has groovy riffs and pounding drums that maintain its dynamic pace while securing a dense sound as they subtly add new elements, keeping their sound fresh and breaking the structure’s steadiness. Mixing thick guitars and hard-hitting drums with some country touches comes Not My War, a tune with diverse textures that kept things interesting as we got closer to the record’s center. It has a spacious structure that gives the listener the chance to properly digest its diverse sound and gives each element the chance to shine within its dynamic twists, all topped by a powerful vocal melody that holds it all together. What Simon Said brings a punk-ish twist to Kuko De Kobra‘s mix with its fast attacking riffs, while the vocal melodies bring a lot of Mastodon vibes that perfectly fit What Simon Said‘s attacking pace and straight-to-the-point flow. Riffhanger III – The Song Of The Boat Man hits next with epic doomy guitars and big atmospheric vocals, taking the record into a storytelling area. It has one of the record’s most interesting structures with a slow decisive flow, one hell of an expressive hooking vocal melody, and thick groovy riffs that keep you slowly headbanging as it moves on adding licks and melodies along the way to elevate its sound. Ghost Of A Smile builds on Riffhanger III – The Song Of The Boat Man‘s sound with a sludgy twist, a more dynamic flow, and a catchy big chorus. It has a fluid groovy sound that organically pushes its boundaries towards an open sound while keeping the heaviness uncompromised till the very end. May J takes a rocking direction with ballad vibes and some irresistible singalong parts, it adds a bright layer to the record’s dynamics that might be considered an acute shift especially when compared to the two songs before it. Stationary keeps May J‘s alternative sound going and played around with it, introducing a multi-layered changing structure with some emotional melodies, defining their solid writing, and cementing their diverse sound that adds a lot to Liontamer‘s experience. Flexing Kuko De Kobra‘s writing and mood-shifting abilities Hallowedmouth And Silvertongue hits next with a mellow flow and some deeply emotional melodies. Its slow heavy riffs created a haunting atmospheric sound, and cleverly hosted the song’s progression and heartfelt sound within its streaming flow, smoothly preparing the listeners for the record’s finale. Bad Morning comes with hard-hitting riffs, deep bass, and rocking drumlines, ending the record on a highly dynamic note. It somehow sums up what Kuko De Kobra has been doing throughout Liontamer with its heavy riffs, highly melodic parts, and changing structure with its subtle atmospheric vibes, leaving the listeners no choice but to go back and dig deeper into their catalog.

Liontamer is a solid record that shows Kuko De Kobra‘s diverse influences and approaches and their high attention to detail. They managed to put together a diverse-sounding record bonded by hooking dynamics and an admirable drive for experimentation. Looking forward to more from Kuko De Kobra, keep on rocking. Cheers!

• Hello and Welcome, Sir. First of All, I would like to congratulate you on the new album. It really sounds fantastic and I loved it so much. How Were you expecting people to receive the album and react to it?

Thank you for the kind words – I am thrilled that you liked it. I was not really expecting any reaction at all to be honest. Kuko De Kobra is a one mand army these days and because I am quite reserved I have a hard time getting the attention I deep down feel the music needs. I really am awful at promoting.

• Allow me to backtrack a little bit and ask you about the previous records. How was the recording process compared to this album?

Underdog Chorus is the first time I was really on my own recording and producing for the most part. I am by no means a technician but I can plug my guitar into my iPad which I basically what I did for this album. It was a great learning experience. I was also lucky enough to have ”My Serbian Connection” Ivan Mircovic play drums and mix the tracks. He did a great job I could not do.

For the first three records I went into some great studios with some experienced musicians and producers. Making the first two albums was great – the third one became quite stressful even though I truly enjoy the results. But just because I chose to do Underdog Chorus more or less by myself does not mean I am done going into real studios when the songs call for it. In fact the upcoming fifth Kuko album was recorded in 2022 in the wonderful Angioni Studios just after I finished recording Underdog Chorus. It felt good to record two albums in a year. Liberating. And exhausting too.

Album Review – Underdog Chorus by Kuko De Kobra

• So Underdog Chorus is a pretty unusual name, and so are the names of some of the tracks and their lyrics. Would you like to tell me the inspiration and name behind them?

The album title is quite old and used to be part of a song I never finished. But I liked the mental image of underdogs singing and barking together. Just because you are small does not mean you have nothing to sing about. And yes, I do see myself as a kind of underdog.

I usually try to write lyrics that are in a place between the mundane and the abstract and I like putting in references to everything under the sun. This time I am singing about Chernobyl, trolling neo-nazis and good coffee used as suicide prevention among other subjects.

But at the heart of things I almost always write about communaction and relationships in all its many forms even if I am describing meeting a lovely but also intimidating Sopranos character in a psychedelic swamp.

• The bass guitar sounds very powerful and I would really appreciate it if you could tell me the gear you’ve used in recording the guitars and drums here too and any additional instruments.

I used GarageBand for my iPad and just layered whatever sounded good to me.It was all trial and error. Fortunately most of the presets sounded alright and just needed a little tweaking. And then Ivan did his thing which probably made the sound better. He is a powerhouse drummer, but since I am in Denmark and he is in Serbia I have not idea how his set-up is.

• I don’t mean to confiscate your band to one genre, but if you wanted to describe Kuko De Kobra to a person who’s never heard them before then what genre would you call this album?

I really like to describe most of what I do in Kuko De Kobra as Power Pop with added guitar. I really feel a lot of pop music could do with added guitar.

• I can hear a lot of inspiration in your vocals from people like Chris Cornell and Scott Stapp…Have I got this right or are there any other artists that you had and mind when writing those vocal lines?

I really don’t know Scott Stapp – but Chris Cornell was a huge influence on me. Other than that I would say the Roger Daltrey, Bon Scott and to a lesser extend Dio have influenced me in how I go about singing.

• I would like to say that Good (The Goldberg Complications) is by far my favorite track from the album because of your powerful vocal performance on it. If you could please tell us how and when you learned to sing with so much grit and distortion, and how does one maintain their voice without losing it when singing this heavily?

I could not tell you much about the singing technique. I just warm up a little and go for it. And some days it works, some days it does not. But when I recorded the songs my condenser microphone just could not handle it. It was more or less the last song I did. So I had to come up with a solution. I ended up standing while holding a Shure in my hands as far away from my mouth as I could. In the other hand I was holding the popfilter. And then I moved the microphone and popfilter as I sang to get a somewhat cohesive signal. I must have looked absolutely silly.

• Is there any hope that we will ever see the songs of Underdog Chorus in live shows with session musicians or maybe new members in the band any time soon?

I’m afraid this is not going to happen soon. People are busy and I understand. But I would love playing live again.

Album Review – Underdog Chorus by Kuko De Kobra

• If there was a single artist, living or dead, that you would like to collaborate with, who would it be?

David Lynch, hands down. Ian MacKaye from Fugazi a close second.

• What are some of your favorite venues around the world or let me say…venues you dream of playing at?

I have not thought of that. If I was to play a sold out show to 500 people anywhere I would be pleased.

• Lastly, I would like to know what future projects are in the making, if any, and what direction you plan on taking Kuko de Kobra from now on.

The fifth album is ready and in 2023 I am planning on releasing Kuko De Kobra material  every month on the 23^rd. So I keep busy.

Thank you so much for giving us some of your precious time today. It has been an honor to have you with us and we wish you a successful run with Underdog Chorus and all the other future projects you are bound to make.

Thank you as well.

The opening track, “Where You Are Going”, is positive and uplifting. Sharling’s vocals have a unique sound to them with their clear pronunciation, nasal sound, and impeccable breath and distortion control. With the bass being Sharling’s mean instrument, you should expect nothing less than epic basslines and that’s exactly what the track delivers. What surprised me though, was the piano/synth lines playing in the background and how beautiful they made the song. The songs flow into one another as the second song begins. The groovy, bass-led, and super-catchy Miss Gandolfinito has got to be one of my favorite tracks on the album with its pummeling drums and powerful vocals. The vocals this time are full of high screams and a beautiful mixed register that heavily reminds me of the late Chris Cornell. The third track, Summer In Pieces, is another short track that has great clean vocals and an awesome bassline as usual. But the most fun thing about it is the added percussion and claps, to be honest.

A turning point in the album is the fourth track, Yes, This Is Going To Hurt, which was inspired by noise rock and heavier genres than the rest of the tracks. Contrary to the heavily-distorted guitars and heavy drums the vocals sound vulnerable and emotional and only the higher parts of the chorus are screamed/sung with distortion. The guitar tone of this song and the brief solo added greatly to its 2000s vibe and this makes it a very special one out of the bunch. The following track, Alright, has a nice chord progression with clean guitars during the verses which made the distortion during the chorus very satisfying to listen to. The guitar riff/refrain that plays after the chorus was also another beautiful detail that I loved so much here. Alligator Heartbeat is another short and fast number with more high screams and super-charged basslines, meanwhile Fourteen Minus Two (Plus Two) is a very industrial-ish interlude with reverbed vocals and oriental-sounding drums in between a few rhythm guitar lines. 

Let A Good Girl Down is a very post-grunge/alt-rock track that reminded me of the good days of Seether and Creed. The melodic vocals here and the tapping guitars give this track one of the best choruses on the entire album. Cherenkov Blue has some clean guitar strumming (in between the regular distortions) and great backing vocals (with lots of soft ooohs) that make for a 70s-like atmosphere which I really loved. Giving Up On Letting Go is another melodic track that will make you wanna get up and dance. Sharling really shows how great of a guitarist he is on this one, because it’s not all about technique this time around and it has some really beautiful melodies and feelings behind it. 

Good (The Goldberg Complications) begins with a an intro scream that almost broke my eardrums with its intensity. The track is almost entirely sung in Sherling’s distorted clean voice which will definitely appeal to fans of Scott Stapp and Chris Cornell and show them that there are still some great rock vocalists around these days. It really seems like he left the best for last because this is with no doubt his greatest vocal performance on the whole record. The scream is repeated before the bridge/breakdown section in the middle of the song and I still could not get enough of it and had to repeat the track to feel those goosebumps all over again. The thirteenth and final track, We Won’t Be Leaving Early, is an epic album closer which brings together elements from all the other songs. It begins with clean melodic vocals and clean guitar strumming with the distorted guitars taking the background duties only. It is not until half the song has passed that we get to hear the larger-than-life bassline and the wall of sound that the guitars play behind it. The ending is just feedback from the amplifiers until the song closes, putting an end to the beautiful record.

All in All, Underdog Chorus is a very diverse and musically rich album where no two songs sound the same. My favourites have got to be the heavier ones for sure, especially the groovy Miss Gondalfinito and the vocal masterpiece Good (The Goldberg Complications) but this doesn’t undermine the greatness of the lighter songs in any way or how inspired and sophisticated they sound. The myriad of challenges that John Sherling had to tackle to put out this record on his own were definitely a catalyst that helped in the making of such a powerful masterpiece.

You can check out our Interview with John Sharling to know more details about how this record came to life.

“Melody is king and the riff is the crown prince” is the motto of the three talented dudes to create stunning classic rock vibes! GaneShaMan is the third album by the band which features 13 powerful tracks. Well, it’s really hard to find a negative point with this record, you know what it’s like you’re listening to The Who, Bon Jovi, and Def Leppard at the same time, can you believe it?! The music flow goes so smoothly, and the harmonic tightness between these guys is incredible really! You won’t feel for a second that is a trio, no, you gonna feel a five or six-piece band! Easily you can find the 70s and 80s influences on their music through a variety of genres like power pop, punk, classic rock, and pop-rock, but what is really impressive is adding the modern spirit through the song’s topics. I always believe that specialization is the best way to success, as each member of the group has taken upon himself a specific job, as John Sharling handled songwriting, vocals, and bass, while Martin J. Andersen with his golden fingers share powerful soulful bluesy-rockish soling, and also Martin Pagaard used his golden fingers on drums but also his mind and soul for arrangement and production.

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