Some interviews feel less like journalism and more like catching up with an old friend. Sitting down with Conny Bloom for The Rockpit takes me right back to the first time I saw Electric Boys on their very first UK tour — a moment that lit the fuse on a lifelong fascination with a band that never played by the rules. From those early shows on, their blend of groove, swagger and fearless experimentation grabbed hold of me and never really let go.
Those memories are inseparable from the technicolour sprawl of Funk-O-Metal Carpet Ride, an album that still feels audacious all these years later. Back then, there were no shortcuts. The birds weren’t pulled from a sample library — they had to be recorded. The sitar wasn’t a plug-in — Conny had to find one and work out how to make it fit. Backwards guitars meant flipping tape and committing to the take. It was a different world entirely, where experimentation was hands-on and instinctive, shaped by imagination rather than technology.
What’s striking is how that same spirit runs through Electric Boys’ more recent work. Grand Explosivos captures a band that sounds energised and fully in touch with its identity, delivering riffs and grooves that feel both fresh and unmistakably Electric Boys. As I wrote in The Rockpit, it’s an album that crackles with confidence and joy — proof that this is a band not interested in nostalgia, but in momentum.
Conny’s story also stretches beyond Electric Boys, including his time with Hanoi Rocks, where his sense of style, songcraft and attitude was sharpened even further. Now, with 2026 shaping up to be a year packed with new projects and creative ventures, it feels like the perfect moment to reflect on where he’s been and where he’s headed next. Conny Bloom remains an artist in constant motion — and that’s exactly how it should be.
