Preslar had previously played with the hardcore D.C punk band Minor Threat. Roeser attended Chicago’s Northwestern where he met producer Steve Albini and Lyle Preslar, with whom he was roommates. Roeser was a child of 70’s AM radio including Paul McCartney, Wings, and Badfinger. Nathan’s father was a Lutheran minister who introduced him to funk music and gospel choirs. Vocalists and guitarists Nash Kato and Eddie “King” Roeser both grew up in Minnesota, but they didn’t meet until 1985 when they both attended Chicago’s Northwestern University.īefore he was known as Nash Kato, Nathan Katruud grew up with Norwegian parents in the racially mixed south side of Minnesota. Nash Kato and Eddie “King” Roeser’s Beginnings They had a sense of humour and paid homage to Jimmy Web, Hot Chocolate and Neil Diamond. Its members wore giant medallions and velvet shirts. Summing the Approach (Secretly Canadian).While Urge Overkill was labelled alternative rock, they emerged from Chicago in the late ’80s- early ’90s looking and sounding very different from what was popular at the time. Short but sweet, new wave-stained pop punk screaming out through the two song… Casale) gazes into our collective future and passes on his visions to Charles D.J. With turban and sans crystal ball, Jihad Jerry (Gerald V. Zola Jesus creates a surreal and magical concert experience, Jen Cray learned at the songstress’ first ever Orlando date. Music From the Motion Picture (Hollywood). Sadly, that sense that Urge Overkill in the ’90s were all flash and no substance continues to permeate this attempt at a comeback, but ultimately it’s about the tunes and the ones on Rock & Roll Submarine simply aren’t strong enough or fun enough to get the party started this time.ĭoing the 'American in Britain' bit, our man Matthew Moyer is (re)discovering the joys of subversive British sitcoms, such as the new-to-DVD religious satire Father Ted. And barely developed hooks ultimately prove elusive on songs like “She’s My Ride” and “End of Story.” Despite being one of the record’s stronger melodies, “The Valiant” ultimately wears out its welcome and the somewhere-this-side-of-KISS “Niteliner” is a bit of a mess for all of the same reasons that some of Urge Overkill’s stuff works. The strongest tunes here may be the Bowie-esque “Thought Balloon” and the instrumentally subdued, almost Elliott Smith-like “Quiet Person.”īut too many songs here like “Poison Flower,” the dated, metal-sounding “Little Vice,” and the nervy set-closer “Touched to a Cut” – despite their volume – don’t seem to go anywhere. Roeser’s crunchy “Effigy” even echoes “Sister Havana” in parts. The equally rocking title track has nice multi-tracked vocals and a psychedelic, underwater-sounding bridge section to recommend it. The new lineup comes storming out of the gate with “Mason/Dixon,” a ’70s rock guitar riff-a-rama with great harmonies but a repetitive non-melody. (Former drummer Blackie Onassis, whose problems with heroin caused strife in the band during their ’90s heyday, sits this one out). Original members Nash Kato (guitar, vocals) and Eddie “King” Roeser (guitar, vocals) are back, joined here by bassist Mike “Hadji” Hodgkiss and drummer Brian “Bon” Quast. Unfortunately, Rock & Roll Submarine is just as spotty as their already checkered career suggests. So I wish I could say that for their first studio album in 16 years, the Chicago band had finally put it all together and seemed destined to get another shot at the brass ring.

It was always more than a little disappointing to me when rock ‘n’ roll excess and too many burned bridges ultimately led to the band’s disintegration. Urge Overkill Rock & Roll Submarine UO Recordsīack in 1993, there were few songs that sounded as great jumping through the speakers as Urge Overkill’s “Sister Havana.” With a monster guitar hook, stoopid lyrics, and a melody borrowed from KISS, the tune was an instant party starter.

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