Sunday, July 24, 2016

NEUROSIS Reveals Further Album Details And Artwork For Their Eleventh Album, Fires Within Fires

[photo by by Scott Evans]
Of all that humankind has inherited through our ancestry, no single language has transcended every age as powerfully as music. For thirty years, NEUROSIS has formed an unbreakable union, channeling that inheritance of sound with great command and authority. Showing their discontent with convention from the very beginning, NEUROSIS revealed what would become an instinct for transformation in sound and scope. Their sound has become interchangeable with vision of the conscious and unconscious, coexisting in an infinite audial spectrum. A vision that challenged not only the constraints of what listeners, and indeed the band themselves expected, but of themselves as beings. Going beyond the remarkable, NEUROSIS has become unforgettable.
The journey of their music has found the band relishing the unpredictable, embracing the unknown and exploring the possibility of where the music was capable of taking them. This year finds NEUROSIS taking a dominant leap with their eleventh full-length, Fires Within Fires. Three decades in the making, and following 2012's Honor Found In Decay, the album is a testament both to the history and future of NEUROSIS. In true Ouroborean style, Fires Within Fires gives due to its predecessors while progressing forward into the unfamiliar and formidable. Striking the band's signature balance between light and dark, beauty and repulsion, dense sonic heaviness and reflective space. Fires Within Fires is succinct, raw and deeply soulful, an all-encompassing reminder to all that transfiguration in sound remains their most commanding and inimitable strength.
Created by Scott Kelly, Steve Von Till, Jason Roeder, Noah Landis, and Dave Edwardson, Fires Within Fires features exquisite album artwork from the renowned Thomas Hooper, and the stellar recording work of the group's longstanding engineer Steve Albini. The artwork and track listing for the album have this week been released.
Fires Within Fires Track Listing:
1. Bending Light
2. A Shadow Memory
3. Fire is the End Lesson
4. Broken Ground
5. Reach
Fires Within Fires is the next powerful step towards a destination that has long been and continues to be the very heart of "becoming" for NEUROSIS.
Neurot Recordings will release Fires Within Fires on September 23rd worldwide; audio samples, preorders, and further information on the album will be available very soon.
NEUROSIS will perform across Europe over the Summer months preceding the release of Fires Within Fires, and in addition, Steve Von Till has recently confirmed several European Summer performances as well.
NEUROSIS Tour Dates:
8/10/2016 Brutal Assault Festival - Jaromer, CZ [tickets]
8/11/2016 Festa Radio Onda D'Urto - Brescia, IT [tickets]
8/12/2016 Rock Altitude Festival - Le Locle, CH w/ Tesa [tickets]
8/13/2016 Oya Festival - Oslo, NO [tickets]
8/14/2016 Arena - Vienna, AT w/ Ufomammut, Tesa [tickets]
8/15/2016 UT Connewitz - Leipzig, DE w/ Tesa [tickets]
8/16/2016 Gruenspan - Hamburg, DE w/ Tesa [tickets]
8/17/2016 Patronaat - Haarlem, NL w/ Tesa [tickets]
8/18/2016 Pukkelpop Festival - Hasselt, BE [tickets]
8/19/2016 Substage - Karlsruhe, DE w/ Tesa [tickets]
8/20/2016 Motocultor Festival - St. Nolff, FR [tickets]
8/21/2016 Amplifest - Porto, PT w/ Tesa [tickets]
8/10/2016 007 - Prague, CZ [info]
8/22/2016 Passos Manuel - Porto, PT @ Amplifest [info]

Saturday, July 23, 2016

THE GOLDEN GRASS: Psychedelic Retro Rock Trio Issues Tour Wrap-Up + New Shows Announced

Brooklyn, New York-based psychedelic retro rock trio THE GOLDEN GRASS recently returned home from a month-long European tour with Travelin Jack on select dates. The trek concluded with an appearance at the legendary Freak Valley Festival. Recaps the band of their journey, "We had an absolutely incredible experience in Europe! It was our third tour over there, and each one keeps getting better. This time, we celebrated with two new releases on the tour, our new full-length Coming Back Again on Listenable Records and a four-way split 2XLP compilation with Banquet, Killer Boogie, and Wild Eyes on Heavy Psych Sounds. And it was also the first tour with our amazing new bassist Frankie 'The Fireball' Caira, who really helped step the band up a notch. The first two weeks on the road were with the amazing Berlin-based group Travelin Jack who really are one of our top favorite groups on the planet, and then we did two weeks by ourselves, including a stunning gig in London and the tour finale in front of hundreds of rock 'n' roll maniacs at Freak Valley Festival in Germany! We are still comprehending all of the madness and great times, and already planning the next trip back in 2017!"

THE GOLDEN GRASS has just confirmed a trio of live date this Summer including a pre-4th of July performance at The Acheron in Brooklyn with Satans Satyrs, Tower, and Vimana. Additional shows will be announced soon.  

8/09/2016 Gold Sounds - Brooklyn, NY w/ Jeanies, 1-800-Band, Otherworldly Things
8/19/2016 Kung Fu Necktie - Philadelphia, PA w/ Death Alley, Meddlesome Bells, King Buffalo

THE GOLDEN GRASS released their Coming Back Again full-length via Listenable Records in April.Captured by Jeff Berner at Galuminum Foil Productions, Coming Back Again delivers a truly soul-capturing audio journey where the epic glory and might of '70s psychedelia, the sun-drenched warmth of Laurel Canyon's golden country/folk era and sheer blues-based Southern rock boogie give way to exploratory landscapes, lysergic prog arrangements and a swinging, jazz touch.

Coming Back Again is out now on CD, limited edition colored vinyl, and digitally. Order yours today at THIS LOCATION.

Influenced by the likes of such American rock legends as The James Gang, The Allman Brothers, and Grand Funk Railroad, the soulful British psych/mod of The Move, The Pretty Things, and The Action, and the heavy umph of Budgie, Blue Cheer and Blackfoot, THE GOLDEN GRASS synthesizes their influences into a seamless, memorable, and high-energy performance that screams from the past but is a welcome and much needed presence in the now.

Said Classic Rock in a recent live review, "'Get It Together' - a standout from new album Coming Back Again - grooves away in a manner of The Who via '60s New York. Heavy, Black Sabbathish riffs grow into spacy jams (the hooky 'Sugar N' Spice'). Vocals are dominated by [guitarist/vocalist Michael] Rafalowich and drummer Adan 'The Golden Goose' Kriney, and all three band members have lead-singer voices, making for first-class harmonies. But it's their capacity for swinging rock' n' roll that gives them serious charm." Said Metal Riot of the release, "The three-piece of guitarist/vocalist Michael Rafalowich, drummer/vocalist Adam Kriney, and newcomer bassist/vocalist Frank Caira deliver bright tones, a James Gang sense of possibility and fun. Heck, there's even one spot that sounds like Paul Butterfield stopped by to hang out. Can't go wrong with this one, cuz it's all about feelin' right." notes, "Despite the extended length, this is a pretty straightforward, bluesy rocker that brings the likes of Mothership to mind for the first four minutes, before veering off on a jazzy, space-rock interlude. More retro riffs abound on album-closer 'See It Through,' which also throws in some tambourine and warm jazz guitar, coming off kinda like a friendlier Deep Purple." Sea Of Tranquility applauds the record, "Coming Back Again is so much fun, a hard rocking retro ride that any fan of the classic heavy acts of the late '60s and early '70s will certainly fall head over heels for. Spread the word, THE GOLDEN GRASS are the real deal, and this is some mandatory listening right here." Ave Noctum concurs, "On Coming Back Again, THE GOLDEN GRASS has managed to capture an authentic sound of yesteryear, avoiding the over polishing that adversely infects of much of modern music, instead managing to capture an almost spontaneous sound. For that, they can only be  
commended." Adds New Hellfire Club, "The sound is a heady mix of Steppenwolf, Humble Pie, Cream, Grand Funk Railroad, Blue Cheer, the Amboy Dukes, Spirit, played at maximum volume in a field in the middle of a California summer's day... you get the picture. It's fuzzed up rock, it's psychedelia, it's funky, it's grungy, it's laid back, and it is utterly mesmerizing."  

70's Heavy-Psych Rockers Domadora stream new full-length album

3 years after their very well-received 'Tibetan Monk', French 70's Heavy-Psych Rockers Domadora released a few week ago a brand new full-length album called 'The Violent Mystical Sukuma' for CD and Digital formats on Bandcamp and the main legal platforms (iTunes, Deezer, Amazon...). In addition to the release, the album is also available right now for full streaming at the same location or SoundCloud.
For the record...
Influenced by the 60's and 70's vibes from Black Sabbath, Pink Floyd or Led Zeppelin, Heavy Psych/Rock/Stoner power-trio from France Domadora delivers psychedelic stoned jams since its birth around the shade of bands such as Fatso Jetson or Karma to Burn. 
In 2013, the band released its debut full-length album acclaimed by both critics and public and then toured massively with big names such as Pentagram, Baroness, Earthless of Yawning Man before to work again on a new record.
Three years later, Domadora unleashed its very awaited new full-length effort : 'The Violent Mystical Sukuma'.

Friday, July 22, 2016

Mandatory Vinyl: Witchskull – The Vast Electric Dark


Set your alarms, get plenty of rest, and eat a well-balanced meal are all sound advice come Saturday July 23rd, 2016. It’s that time of the month. The cramps are building in anticipation. Will you become part of the Die-Hard family? Shall the OBI edition be added to your ever growing shelf of rare, pristine vinyl records? Do you have what it takes to overcome the pressure and hit the “buy now” button and feel that rush of excitement knowing you are one of the few, the proud, the STB Records Fan base? Sure you do, as STB is about to release the highly anticipated debut album by Canberra, Australia’s own Witchskull giving us the works in terms of vinyl options.

The wax output contains 4 variants plus limited test pressings that the label typically releases when they find a bad ass bands as they regularly do. In the case of The Vast Electric Dark, STB finds middle ground with a superb band possessing equal parts of the doomy side of the label, hard charging heavy blues rock brimming with a metallic edge lurking deep within. The band, made up of Marcus De Pasquale (Guitar/Vox-Looking Glass), Joel Green (Drums - Armoured Angel) & Tony McMahon (Bass) take the Australian stoner scene to new heights with a pummeling blend of doomy blues meets proto-tinged metal.

The title track kicks of Side A swallowing the listener with its dark lyrics belted out by the signature vocals exiting the throat with a doom-laden quiver sending its message by way of distortion, groove, and neck breaking rhythm. It’s hard not to be taken aback with the singer’s gnarled tone. The lead guitar hooks burn like cast iron in a pit of coals as the album chugs on smoldering with zest. Slow baked riffs circulate with a calculated precision and a catchy, yet underground groove. The 3-piece sounds like 4 or 5 members with the fullness of sound and, again, the vocals dominate and compliment the searing cadence within The Vast Electric Dark

The record of review today is the ‘Not So Standard’ edition. This one is limited to 165 units. Personally I love the colors and have opted for this edition many times in prior label releases despite not being the most limited variety. Not only is it the most affordable option, but it exhibits astonishing presence on the turntable and for the collector not looking to die-hard, this edition typically lasts a bit longer in the store and gives you a chance to get a copy of the album if you oversleep on release day.  Don’t count on it though this time around, as the fans are frothing over Witchskull and I predict another record sell-out on Saturday morning. Keep tuned into STB Webstore for more details on the release time as it’s crucial for the more limited editions.
At 4-songs per side the album is evenly split. The music flows graciously from A to B with its rapturously gritty pulse and intoxicating groove. The band sets themselves apart from the rest of the pack in terms of style and sound in the scene. The guitar tone is fierce yet soothing while the rhythm section slays and the vocal delivery rings with a relentless swagger.  Solos are strung throughout each and every song giving the album a very classic-rock quality adding a touch of blues base to the heavy metallic formula. The riffs are distorted with just the right amount of fuzz, not too stoned, yet dusty enough to survive the desert in a dust storm.  The speed is up-tempo yet the groove reels back the energy to give a bit of a doom vibe. Just as you think the tingling sensation is over, the solos slam you down as the vocals convulse like a mind on mushrooms and the hooks broadcast layers of defiling euphoria.

Take a walk through The Vast Electric Dark, plunge into the sure to be collector’s edition of your choice on wax, and join the STB club with their newest family edition Witchskull. Although I got a copy already, I may be fighting in line for a copy of the OBI series or even a die-hard. With the promo I also received the Die-Hard cover and was totally blown away. The die-hard gatefold cover alone is heavier than 3 standard records combined. It’s a super heavyweight card board gatefold with glossy finish and a embossed text to differentiate from the standard cover. Its hand numbered to 100 copies as well. It’s worth the price of admission for the cover alone, let alone all the other goodies that come with the Die-Hard. 

Just look at these records!!! You must participate.  Looking is not enough. Hell, Looking Glass, the other band of the lead singer, is not enough and they are total shedders in their own right. Listen/purchase the album digitally below for those times when you are on the go, and let’s see the internet flooded with pictures of freshly acquired wax treatment in the coming weeks. Witchskull are here to stay and STB Records have knocked it out of the park once again. Isn’t this fun? I hope you are having as much fun as me with all this cool shit. For those reading this after the sale has gone on, I can only hope that you got your copy, and if not don’t give up, and go for the other options like digital and/or CD. The important thing is, the music is as incredible as the vinyl editions. Good luck and expect some more vinyl reviews down the road. I’m thinking another periodic feature for ‘Mandatory Vinyl’. Let us know what you think and drop by the STB store to see what it’s all about.

-The Huntsman

Thursday, July 21, 2016

Dollar Llama – Grand Union

Life is full of surprises. Fortunately, there are just enough good surprises around to make some of the other type bearable. Take this particular album for example. I received a link to it from a band in Portugal called Dollar Llama. They sent me the link in hopes that I would play a track or two on my radio show. I loved this album so much that not only have I played some of it on my show, I'm sitting here writing this review. This album has been out for a year and it makes me sad that I just found it and haven't been able to enjoy it until now. Pleasant surprise indeed.

These guys are the type of band that I really like, in that they are hard to just categorize. I know everyone likes to see the “recommended if you like” such and such bands in a review, because then the reader gets a little idea of what the music sounds like. This would be a hard band to classify like that. I would call them a heavy rock band, with a healthy dose of modern rock sound, but also with a lot of swing to what they do. There's some bluesy stuff at times, there's some stuff that you could almost call stoner rock, but not quite. They are a unique sounding band and that's what makes them worth listening to, in my opinion.

The band launch into this album as if their lives depend on it. It is heavy from the jump and if you listen to it from beginning to end in one sitting you may feel a little punch drunk, in a good way. Vocalist Tiago Simões has a voice that you really must hear and he drives a lot of this music with his powerful attack. I dig his voice a lot. Dollar Llama barrel through the first two and a half tracks like a muscle car from the glory days of Detroit, but just when you think you know what this ride is going to be like, they ease back on the throttle and roll out a very, very tasty guitar solo in “Jaws”. The next track, “Bloodthunder”, swaggers and staggers on into the room and then you know that this band does what they please, and they do it well.

If you are a fan of the 90's rock sound, “Days of the Highwatt” is going to hit your sweet spot so hard you will probably have full blown type 2 diabetes in about five minutes.  I close my eyes and listen to this track and I just go twenty years back in time. That IS a compliment in my book. “Almighty Red” is probably my favorite track on the album, and to continue that 90's theme a bit, this one wouldn't be out of place on a Stone Temple Pilots album. Please do not think that this is all just a big nostalgia trip, though, because it is a very modern sounding and feeling album. They just do what they do so well that it reminds me of some heavy hitters from days gone by.

It is possible that, like me, you have missed out on this album. If that is the case, rectify that situation right now and check this one out. There is all kinds of good, heavy rock on this one and you owe it to yourself to hear it.


Wednesday, July 20, 2016

Ripple Interview with Burdt from AVER

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphanies since then, when you come across a band that just brings something new and revolutionary to your ears.

What have been your musical epiphany moments?
The first one, the equivalent of your Detroit Rock City, was Nirvana. And that's actually kind of strange, because I was less than 2 years old when Nevermind came out. I kind of just had  a background soundtrack of whatever folksy/classic rock stuff was on around the house, and when I was about thirteen, I discover Nirvana for the first time, long after grunge died, and had the exact same reaction you describe. Raw, visceral, this-isn't-my-parents'-music instant intrigue. And so of course that branches out as a gateway drug to all the genres that I know and love today, but there's still this heart of grunge influence, I feel, to what we do in AVER. In the first album was a bit more obvious, but there's a bit of that quiet-verse heavy-chorus dynamic going on, and the balance between aggression and melody. A lot of the stoner/psyche musicians of this current generation I speak to are the same way, with this grunge background, more so than just suddenly liking discovering Kyuss and saying “yeah, I’ll do that”. I think it makes for more interesting music, too, as a lot of early stoner was this one vibe for the whole song sort of deal.

Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?
What's pretty cool is that the way we write each song is different. Sometimes I’ll come with the song written and everyone will add parts and we'll make some small changes and it's done, and sometimes it's jamming something until things happen naturally and we like how it's going, or sometimes we'll sit down over it all written out in segments like coaches pouring over a playbook before the big game. I guess the constant is that lyrics are written to fit the music. I have to be in a particular mindset, sit down and play the riff or listen to a recording of it, and try and put the feelings that went along with making it into words, and hopefully poetic enough to be more than "isn't this an angry vibe for this distorted section!!!" or "Kind of spacey now, isn't it?!!!" I think the most important ingredient to it though is time. It'll take about a year from the time we have a final draft of a song, to the finished version. Things just become apparent about what could be done better, like a recipe you refine over a year. Luckily there's not a huge amount of "I wish we did this differently" because we give ourselves enough time, but you can't rush that.

Who has influenced you the most?
Might come off as pretentious, but I’d say it's totally each other. We've been doing this since we were teenagers, growing and changing what we create and directing one another in the way that we write. None of us have any formal training, we don't play covers, and I couldn't play you a minor scale. We'd be total oddballs in other bands, we have our own language to communicate our ideas, any one of us would be removed from another band when we start up with "Well, right now it's like this song is a sandwich, and I like the meat, I like the bread, but the condiments aren't zesty enough. Can we add a zestier condiment to this sandwich? Don’t get me wrong, it’s a good sandwich, great even, but you have to balance that heavy meatiness with something tart that cuts through, and we haven’t even begun to discuss the cheese in this sandwich…", and so on. It's probably a very unhealthy musical co-dependent relationship, but at least our Behind The Music special could double as a cooking show.

Where do you look for continuing inspiration? New ideas, new motivation?
The drive to come closer and closer to translating and displaying the different ineffable vision each of us has in their soul, through our tools and joint effort to capture a moment in time that resonates, on a deeper level, with those who listen with receptors open and meet us on the same wavelength. And lots of money. Just silly amounts of it. Jed wants a jetpack.

We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?
Sydney, Australia. We have lots of lyrics about the sun. But seriously, there's not a big scene for the heavy/psyche thing here (and there was even less a few years ago), and that's contributed in a couple ways to our sound. The first is if it's not going to be mega-popular anyway, why set boundaries? Song length, structure, and composition rules went out the window, and that's huge, that's who we are, and something we wouldn't have been able to do in the battle-of-the-bands/mixed bill/pub-rock environment. I know that some people feel the weather in some way affects the music, but I’m not sure I buy into that. Some of the most chill desert bands come from Scandinavia, and some of the grimmest frostbitten black metal from sunny South America. The heat here just makes jamming in a room with a bunch of hot tube amps suck.

Where'd the band name come from?
I was trying to find an awesome band name, drenched with meaning and ambiguity by reading the dictionary. Didn't get past "A", but we’re always near the top of alphabetised lists, so we’ve got that going for us.

You have one chance, what movie are you going to write the soundtrack for?

Jed got really excited when I asked him this question, he said whatever Star Wars film is next, he reckons he could make some crushing riffs and whirring space sounds as the perfect backdrop to lasers and spaceships and whatever else (I don’t like Star Wars, but that’s a question for another interview). Personally I would have a crack at 2001. Do away with the symphonic business and get something more psychedelic, and an absolute freakout when he travels into the planet rather than the cat-walking-over-a-synth-controller music it currently has. I’ve thought about this before, we would make awesome music to go with the apes and the monolith and the discovery of tools and everything. In fact I’m offended Kubrick didn’t use his time machine to ask us in the first place. (My theories about Kubrick’s time machine are also content for a later interview).

You now write for a music publication (The Ripple Effect?).  You're going to write a 1,000 word essay on one song. Which would it be and why?

Kashmir by Led Zeppelin. A deep examination of how to take two riffs to make a solid minute of a song, and then keep going for a further seven minutes without improving or advancing the song in any meaningful way, and the mercifully ending with, of all things, a fade out, implying that if the studio engineer hadn’t intervened the band would still be there playing those two riffs for eternity, searching for a spare scrap of time which doesn’t already have the word “baby” in it already, and hastily screeching “baby” over that exposed gap, so as to rule out any inconsistencies in style or intent that would otherwise make a fantastic start to a song into anything other than a drudging, repetitive let down. I think your reader numbers at The Ripple Effect might take a slight hit, but these are the hard hitting stories that the people need to hear.

What is you musical intention? What are you trying to express or get your audience to feel?
Everyone in this bad has probably got a different answer for every song. And that's a good thing. As far as an audience, interpretation is very important. There's nothing worse than having a favourite song which perfectly describes the love of your life, every word ringing around your skull like it was written for your very situation, and learning the songwriter wrote it about his childhood dog. Or whatever. So in that regard, it's about whatever you think it's about, and whatever you feel is correct.

Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?
We were playing interstate a few months ago and we booked a room at a hostel, but what we didn't realize is that this particular hostel was in the middle of the business district and mainly frequented by people on business trips who brought their family along. We thought there'd be plenty of young party animals at all hours getting up to all manner hijinks. Instead, when we rock up at 3 in the morning the night clerk actually shushed us for talking too loud, and in the morning we were surrounded by families having breakfast making their children not stare at the table of hungover delinquents trying not to regurgitate their continental breakfast of cereal and orange juice. Not very rock and roll, but very spinal tap.

Tell us about playing live and the live experience for you and for your fans?

Live shows are very important and something I think about ways to improve frequently. To me there’s little point to seeing a band that just plays the songs, and plays them the same way they sound on the record you have at home. We don’t have the lasers and projectors and choreographed light show (yet!) so I like to think we bring a tangible intensity to our shows. Something that makes the fact that this is happening in this place, at this moment, special. We’re not a band you can ignore when you’re in the room, for better or for worse, there’s some tense, raw shit happening on stage, and I wouldn’t have it any other way.

What makes a great song?

A great subjective experience of that song. The right time, place, and mindset. Most of the songs that have stuck in your soul have hit you at a pertinent time, maybe when you were a teenager and most emotionally vulnerable and inexperienced, maybe when some life event happened and then the song resonated with that event and you experienced synchronicity and now the song is inseparably connected to your nostalgia or memories of that event. There’s a million songs with amazing riffs, soaring solos and heartfelt lyrics, but sometimes it’s the four chord folk song that affects you in ways some grand magnum opus never could. I think those elements are often overlooked when we look at the “Best songs of all time” lists or whatever. It has more to do with when it was released and the context of that time than it did with the quality of the song in a lot of cases. You ever shows somebody the Rolling Stones who never heard them before? The songs go over as a giant “meh”, you couldn’t imagine those songs leaving the middle of the act of the local opening band today (my Ripple Effect writer position culling the reader numbers again). So I guess if I had to answer the question in one word, it would be this: Timing.

Tell us about the first song you ever wrote?

Retreat To Space, off our first album was Jed and I jamming for the first time and coming up with that guitar and bass call and response deal. It was originally called Interplanetary Pimping and we were 17 I think. Thankfully we matured just enough to realise how terrible of a name Interplanetary Pimping is.

What piece of your music are particularly proud of?

Of the music we have which is recorded (because the new stuff we’re writing at the moment is going to change the game completely) my pick would be the extended psyche section in Waves. You’ve got acoustics, a sitar, a djembe, two or three lead tracks playing, the rhythm electric, bass, and drums. I just love the depth of those few minutes, the swirling and gurgling cauldron of sound going on there. The idea for those layers and everything, by the way, came from the opening minute of Nebula’s “To The Center”, which a consider to be a masterpiece of “More is More” songwriting.

Who today, writes great songs? Who just kicks your ass? Why?

I could go through all the bands that I like who are making great music but at the moment I’m obsessed with All Them Witches. I think they’re the greatest band in the world today. I listened to Lightning At The Door hundreds of times, and their new release, I actually haven’t been able to listen to all the way through, the thought of finishing it and not actually having more to listen to makes me genuinely anxious. I think they’re changing the game by shunning genre typical clichés and motifs and becoming their own beast, something I think we very much relate to.

Vinyl, CD, or digital? What's your format of choice?

Vinyl, but for non-audio reasons. We have fewer and fewer meaningful rituals these days when everything is accessible with a click, your opinion of agreement can be summed up in a Like on Facebook, and when people are connected more than ever, are having less actual connection with one another and there’s a growing feeling of isolation (I know this is getting heavy, bear with me). Especially in the context of listening to music with friends, rather than the Youtube DJ experience, being able to pull out a physical LP, pass the case to people to have a good look at the art, start up the spinning turntable, and lower the arm and the first few crackles start up. And you can’t just forget about it, this machine is spinning in the room, and each side only goes for a half hour before you have to physically change it means that the music is being listened to with intent. With more focus and a tangible shared experience. I think that is special and I’d ask you to recall the last time you put on an album you liked on Youtube and everyone in the room stopped talking and really soaked it all in, together, for the first time. I think vinyl is a catalyst to shared enjoyment and purpose in listening to music. Digital is easy, vinyl is worth the effort.

Whiskey or beer?  And defend your choice.

Beer. Whisky and I haven’t been on speaking terms since The Incident.

We, at the Ripple Effect, are constantly looking for new music. What's your home town, and when we get there, what's the best record store to lose ourselves in?

In Sydney it would be Red Eye records, there’s reviews written by the staff of a lot of the albums they sell, it’s one of the few places that stocks old, rare, and odd music and attracts old, rare, and odd people, which makes for an atmosphere which is vastly different than a music retail shop. Highly recommended.

What's next for the band?

Touring and writing a new album. The songs are nearing their final draft stages and we’re reading to start hitting the road and spreading the good word wide and far, because with this album, our live show currently, and what we’re working on, things are about to get very interesting indeed.

Any final comments or thoughts you'd like to share with our readers, the waveriders?

Ghandi once said “Be the change you want to see in the world”, and with that in mind I think the obvious thing to do is, when the opportunity first presents itself, purchase the Nadir vinyl from Ripple when it is released (Which will have two new songs on it!), gather some likeminded individuals, and experience the complete album for the first time together. In fact if Ghandi were alive today I’m sure that is explicitly what he would be referring to if he said that. Just food for thought.

Tuesday, July 19, 2016

Psychedelic Heavyweights, The Watchers, Sign to Ripple Music for Worldwide Releases and new Video!

Ripple Music is thrilled to announce the addition of Bay Area, Stoner/Doom Heavyweights, The Watchers, to their growing family!  Hailing from the great San Francisco Bay Area. The Watchers are a  gathering of international seasoned players, from some of the most massive heavy bands of the last decade.  Tim Narducci: Vocals (SpiralArms, White Witch Canyon), Carter Kennedy:Drums (Orchid), Jeremy Epp: Guitar (Black Gates, Venting Machine), and Cornbread: Bass (SpiralArms, White Witch Canyon). The guys have come together to preach and worship all things heavy riff rock n roll with there music.

The Watchers have just joined forces with Ripple Music to release their first offering the "Sabbath Highway" EP due out on vinyl, CD and digital worldwide on November 4th, 2016. The 5-song EP features, "Sabbath Highway","Today","Requiem","Call The Priest" and"Just A Needle."

"We're very ecstatic to be a part of the Ripple family!" says Tim Narducci. "We love their approach and the fact that they have true footing in the underground heavy rock, doom, metal scene. Todd and Pope's passion for their bands and roster is contagious and beautiful. We see a great relationship ahead!"
The first video "Today" was put together by the band paying homage to the late great 70's dare devil Evel Knievel. All hand picked footage by the band to guide the song along with its statement: No regrets, never look back, and live in the moment. This guitar line driven tune sprinkled with some Travers and Thin Lizzy influence, will draw you in and make you a believer....rock and roll ain't going alive and here to kick your ass~

The video makes it's world-wide debut on The Obelisk and can be found here.​
Ripple Music is recognized as one of the leading record labels in the heavy rock underground, specializing in stoner, doom, heavy psychedelic and lost 70's reissues.  They can be found at
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