The Deadlines Biography
The Death & Life Of The Deadlines
Tooth & Nail Records announces their abduction of Portland-area band The Deadlines, whose debut album for the label features thirteen fang-sharp slices of purely terrifying garage punk, has just been sent back to earth.
The Deadlines were sparked to life in the middle of summer 1998 when lead singer and guitarist Shaun Coffin got disgusted at the lame bands he was seeing in the music scene. "I centered everything in the Deadlines around the whole horror theme because I was sick of watching and listening to regular bands," he says. "Nobody was entertaining to watch, so I figured if we did something different the kids would like it." Hence their dress code of old black suits and ties, "the kind you'd be buried in -- and what you'd look like if you came back to life a few years later," Shaun morbidly adds. Hence also the eyeliner and ragged accouterments that goes stylishly with their fuzzy, stomping, farfisa-organ classic early punk rock.
The band started as a three piece, with Jerry Attrick (drums), who's still in the band, a bass player that left the band earlier this year, and Shaun doing old school punk. As they transmutated into more of a rock base, Sammy Lugosi (guitar) and a new bassist, Thomas Demise, came on board last summer. Rounding out the band's sound is the traditionally blood-pumping organ riffage of the Creature, whose eerie keyboards will send shivers up your spine.
The excited talk going round about their performance art-styled live gigs is deserved. "We definitely try to put on the best show out there. We're trying to put the danger back into rock and roll," Shaun confidently asserts. For example, "We like to light the drums and organ on fire. We've been known to spit blood. Occasionally, we bring out a psycho knife juggler who juggles knives, and then goes on a rampage stabbing various band members." This played-out psychosis even extends to having "plants" in the audience at Tomfest last year, "two girls set up in the crowd that we went out and stabbed, and who continued to lay in their blood through the rest of the set.
"Our first show was with the Huntingtons," Shaun continues. "About 100 kids showed up and we rocked the house. Then came a fill-in slot at Tomfest, and we played mostly Portland shows until we started traveling," dripping their blood-drenched psycho rock over three states. (The band has also played out with Ninety Pound Wuss, the Calicoes, and Squad 5-0.) The Deadlines' first national tour will be this spring with the Huntington, and then segueing into the summer festival tour circuit.
Back to recording, some die-hards (heh heh) might remember that the band had an indie release out briefly earlier this year, but Shaun says, "a few things made this album a ton better than that one. The production is a lot better, we wrote better songs, and had two guitars with the organ, which gave us a really full sound for it." Most of the music is written by Shaun, as well as the lyrics.
The obvious musical influences include The Damned ("the original horror punk band," as Shaun says), The Misfits, and The Cramps, as well as going back to Screamin' Jay Hawkins, from the 50s. "And I listen to a lot of Bauhaus, Dead Boys, and even glam-punk like the New York Dolls, Hanoi Rocks, and G 'N' R., " he admits. Blend this with movies like Night of the Livin' Dead "and the whole cool 50s monster movie culture" and you get the main inspiration of the band.
The album was produced by noted sound designer Matt Bayles (Murder City Devils, Botch, Pearl Jam), selected by T&N label mastermind Brandon Ebel because "he has mad hook-ups," Shaun says, " and he was really good, and we hope to work with him again on our next album."
Touring on a shock wave, rocking from the crypt, and eventual 7" releases ("cos we love vinyl," Shaun says) are in the bloody works -- SO BEWARE!