By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
Pinning down a particular set of adjectives to describe the Hellacopters' thunderous beat is difficult: Southern boogie, Motown, psychedelia and heavy metal are just a few of the genres purloined by this five-piece. Still, Kenny insists that the sneering sounds of punk's past are at the core of the band's formula. "When me and Nick were probably eight or ten years old, I remember we were flipping through my father's record collection, and he had all this stuff by the Stones and bands like that--and we just sort of ignored it," he says. "But then we got to the Ramones and Damned albums, and immediately we were like, 'Hey, what's this?' So we sort of got started from there.
"When my dad found out we were into those bands, he handed us an MC5 record," he continues. "But we were like, 'No way--not with them hairdos and bell-bottoms.' We wanted the punk rock. It took us a good five years or so to change our minds." Coincidentally, the pair came around at about the same time they first picked up guitars.
After various stints with combos in and around the suburbs of Stockholm, most of which never left the country, Royale signed on as drummer for Entombed, a progressive death-metal act that gained international acclaim in the mid-Nineties with the groundbreaking long-player Wolverine Blues. Critics and fans alike applauded the record, which combined neck-breaking grindcore with traditional rock riffs and time structures. But Royale, who was more interested in bands like the Supersuckers and Teengenerate than Morbid Angel, soon grew bored with the equation. The drummer left Entombed in 1994, just months before the newly formed Hellacopters released "Killing Allen," their first seven-inch. "I think Nick wrote the song with Entombed pretty much the same day that the idea for the Hellacopters took shape," Kenny notes. "It was recorded after only the fourth rehearsal we ever had together, so it's pretty noisy and pretty chaotic. But it's still similar to what we're doing now. The B-side is a cover of 'The Creeps' by Social Distortion. It's fast, straightforward punk, I guess you could say."
Not ones to waste time, the 'Copters fired off several more singles that year, followed by their first album, Supershitty to the Max. Recorded in two days' time, the 1996 platter (on Sweden's White Jazz Records) has a decidedly lo-fi, Raw Power quality to it--but poor production does little to mask its sheer intensity. In fact, the tinny crunch of the volcanic opener, "(Gotta Get Some Action) Now!" merely sharpens the tune's already jagged edge, and "Born Broke," "Random Riot" and the acid-tinged "Tab" cut like straight razors, thanks to ragged grooves and rapid-fire guitar workouts. Throw in Royale's emotive, rock-ready vocals (think Rob Tyner on a Jagermeister buzz) and you have one of the most powerful debuts in recent memory.
The disc's potential did not go unnoticed. Supershitty wound up on more than its fair share of best-of lists here, even though the disc was available only as an import at the time. Back home, Max was awarded a Swedish Grammy as "Best Hard Rock Album of the Year"--an honor that Kenny shrugs off. "It's kind of a laugh, really," he says. "It seems like each year, they want a joker in the card game. They want someone in a leather jacket being too drunk at the party--that sort of thing. The whole Grammy thing is more for the ABBA crowd than it is for us."
Payin' the Dues, the Hellacopters' White Jazz followup, received equal acclaim. Featuring frenzied punk-and-blues standouts like "Where the Action Is," "Hey!" and "Calapso Nervioso," the album received extensive airplay in Europe as well as on several American college stations, and it made the Top 10 in Sweden--although apparently no one informed Kenny about this development. "I'm probably the wrong person to ask, because I rarely look at the figures involving us," he admits, sounding genuinely bewildered.