Gonzo Fever

A burnt orange sky, the stench of gasoline and a car ripping down the highway chased by demons of the past. Gonzo Fever, the new force in psychedelic rock, breaks onto the scene with their debut single. 'Scream' is a pulse-pounding track that takes listeners on an electric trip down winding roads of raw emotion and fierce energy.

Immediately gripping with the simultaneous blend of its chill tempo and pent up energy, ‘Scream’ is fueled by the bright textures of 70’s psychedelic sounds. Lead vocalist Jack Taheny belts out the anthemic lyrics with a fiery intensity of anxiety and angst. The blistering guitar riffs,  hypnotic basslines, and propulsive drum beats, courtesy of Jack on guitar, Kevin Sweeney on bass and Piers Eason on drums, serve as the driving force behind this sonic vehicle.

In Jack’s own words, “Scream is about that backwards toxic place that stifled your growth and the moment you decide to leave it behind for a reality of your own making.There’s a conversation you have with the two sides of your mind, willing yourself to listen to the pain you’re feeling and act on it. It’s about all the fear and anxiety brought on by a drastic change, but also the sheer excitement and adrenaline of facing your demons and giving them the finger”.

Conjuring the energy and style of bands like Primal Scream and The Brian Jonestown Massacre, Gonzo Fever has crafted a sound that is both timeless and cutting edge. 'Scream' is just the beginning of their sonic odyssey as the band gears up for their upcoming debut EP. The self-produced track was recorded in Dalston, East London. It was mixed by Jack Roulston (Jack Dora, godsfavouritecharacters) and mastered by Fergal Davis (Sinead O’ Connor, Muse)

Gonzo Fever are playing a single release gig at 93 Feet East on Brick Lane this Thursday 1st Feb. Tickets are £5 with code 93FEETDOGS at this link: https://www.gotobeat.com/gig/french-dogs-live-brick-lane/


  • Dracula - Amen Dunes 

    Jack (Guitarist, Singer): When I heard this song it genuinely seemed to shake something loose in my brain. The slow building open and the unsettling synths carrying you in. The drums coming closer like a car cruising towards you. Then the vocals. When I heard this song I finally knew what I could do with my voice. It’s like Damon sang exactly how I’d wanted to but never knew how. 


  • Dancing in the Moonlight - Thin Lizzy

    Jack : The perfect combination of everything I love about music. The smooth drum and bass groove, the wistful sax and the sexy smooth yet raspy vocals. This is rock music at its finest. It’s emotional, it’s danceable, it’s banging and it’s Irish. Not only has it shaped our sound but it makes us so proud to be from Ireland.  It’s like the cream on a Guinness.


  • Ghost Rider - Suicide

    Jack : I remember hearing this first when I became obsessed with synths. To this day it is one of the most frenetic onslaughts of sound, angst and tension I have ever heard. Alan Vega’s mad vocal delivery and wild poetic sensibility is so punk and it’s a huge inspiration for my vocal delivery and style. This song is incredibly cinematic and atmospheric and that’s something we really strive for.


  • Eminence Front - The Who

    Jack : An intro that lasts two whole minutes until the vocals kick in.  This is exactly my kind of song. I remember hearing this first on a radio station in Grand Theft Auto: Vice City. I thought it was one of the coolest things I’d ever heard. The mixture of new-wave 80’s sounds with the jam band style. The pounding drums, the slick guitar riffs and the angsty vocals. A solo before a song really starts is so ballsy and I love the bizarre arrangement.


  • Flower Travellin’ Man - Earthless

    Piers (Drummer): The sheer intensity of this insane trio emulates a driving power across a vast and empty desert scape. The thundering rhythm section moves like an engine, and provides space for the whirling screams and wails of the heavy, exuberant lead guitar. A perfect example of a well oiled tricycle.


  • Daydream - Robin Trowers

    Piers : Another beautiful example of a well-working trio with an impeccable ability to merge dreamy vocals, heart wrenching guitar solos and a grounded rhythm section. Guitar solos that are tasteful and soulful enough to make the universe weep. This band and this song in particular blends poetic lyrics, a riff that makes you want to throw your hands in the air, and a groove that by sheer vibration could dig a hole in the ground.


  • Golf Girl - Caravan

    Piers : This band I think represents the calibre of songwriting for me. A beautiful and well written narrative that drags the listener through an encounter they feel was theirs alone. The song is almost in a spoken word style, but the gentle bop to the groove makes you feel as if you are indeed stoned, drinking tea with a pretty woman under a tree.


  • Follow me - Rory Gallagher

    Kevin (Bassist): I remember a CD that came with the Irish Sunday Independent featured the track. I listened to it on repeat in the kitchen, mesmerised by the upbeat vocals and ripping guitar solo. The raw and authentic production captures the essence of Gallagher's live performances as a trio. It's got the blues-rock feel and showcases his exceptional guitar skills and skilful songwriting.


  • Rockin’ in the Free World - Neil Young

    Kevin : I remember hearing the final guitar solo of this for the first time and being in awe. It inspired me to start making music. It had a raw and emotive quality that hit me. The distorted guitar riffs give the track an edgy and powerful feel while the rhythm section provides a strong and steady beat.  Young's raw vocals and the energetic instrumentals make it such a classic and it’s still resonating across different generations.


  • Brown Eyed Girl - Van Morrison

    Kevin : I have a soft spot for this one, reminding me of discovering Van Morrison for the first time. Morrison's soulful and unique voice, combined with the upbeat instrumentation, creates an infectious and timeless vibe.

    The bass really shapes the feel and character of the song which work in tandem with the drums to establish a beautiful rhythmic backbone. It lays down a fountain for Morrison’s distinctive vocals and delicate guitar playing.


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James J. Clarke