Friday, July 31, 2009

An Electrifying, Eclectic Edifice of Ebullient EP's

Echovalve - Because of You

It wasn't that long ago that we declared Echovalve to be the mythical Phoenix of rock and roll, having survived in their short career more adversity than most people will ever experience in a lifetime. Helloagaingoodbye was a raging slab of alt metal that roared like a declaration that the boys wouldn't succumb to their problems, but rise above, guitars held high, and fight back. And the did. Undeniably, the album was a success. More problems befell the boys however, and it wouldn't take much for the average Joe to assume that the weight of all this trauma might have finally caught up with the band.

Not so, says Echovalve. Returning with a three-song Ep of perfectly constructed alt-metal, Echovalve proove that not only are they survivors, they're conquerors. "Because of You," is the hardest hitting song of the three, something that could have sat comfortably on Helloagaingoodbye, thunderous big guitars, rampaging percussion and a damn fine vocal performance. The stop-start riffing of the chorus is instantly catchy, as is the message of release. No reason I can see that this song shouldn't be on all rock station playlists. "Intoxicating," reveals a softer, more mature side of the band. A gentler, more hopeful song . . heck a love song of sorts. That's not to say this is a ballad. No, this one rocks as hard as the first, just differently. The composition reflects a new maturity for the band, a moving beyond old demons to a place where they may actually find . . . gasp . . . happiness.

"Too Late," finds the boys dealing again with those old demons, trying to set them in the past where they belong. Another quantum leap in songwriting maturity here, bringing more modern rock influences into their alt-metal. Another infectious chorus and we got a winner.

Rock and roll is full of it's litany of casualties. Echovalve plan to be one of it's successes. And with talent like this, that's not an unrealistic goal at all.

www.myspace.com/echovalve



Samsara Blues Experiment - Demo 2008

Not really an EP in the classic sense of the word, but with two songs and a total running time of over 21 minutes, it's not really a single either. Let's just call it what it is and leave it at that; a mind-expanding hallucinogenic trip of stoned-up, spaced-out psychedelic meandering of the sort that would make our good friends over at Colour Haze proud. Listed as a demo, these excursions into musical inner consciousness are remarkably well constructed. "Singata," the shorter song of the two, coming in at 8:32 rides an acrid puff of pot smoke up into some mystical lava lamp in the sky. Driven by solid percussion, the fuzzed and effected guitars loop and dip and shimmy and swirl in glorious hashish drifts. Heavy sections rumble like an earthquake, big distorted bass strokes bring on the menace, while the guitar work is never less than masterful. Vocals do kick in eventually, but they're really an afterthought to this mindtrip.

"Double Freedom," mixes the pre-requisite sitar into the 13 minute plus mix. More vocals here give the song a bit more of a structured theme even as it wanders and meanders anyway the smoke blows. Nice guitar sounds lead us in, reverberating in a heavy '70's feel. Sienna Root explores ground like this, as does Dead Man, and SBE can proudly take their place standing at their sides. Moods change as easily as the mental states from euphoric, drugged out spaciness to heavy distorted doom. And it's all pretty fucking amazing. Fans of the bands I mentioned earlier, or the more extensive heavy psychedelic jamming of the '70's protometal bands like JPT Scare Band will not want to miss this one. I hear they're recording an album next and I, for one, can't wait to see which direction they blow my synapses next.

www.myspace.com/samsarablues



The Steps - Take It All In

Now signed to Playing in Traffic Records, big-time Ripple favorites The Steps release this 5-song burst of their swaggering, punky, psych-garage blow ups. Now, I raved about The Steps on my review of their self-produced album. Just a barn burner of nitro-fueled Electric Prunes/early Kinks inspired garage blasts. Two new songs sit comfortably with three terrors from that first album. "Blonde Smoke," continues the frenzy The Steps started on that first album. Big Peter Gunn-ish basslines groove underneath the roaring garage-fuzzed guitars and wailing vocals. Featuring an expanded compositional style, with an actual time change, this song sits comfortably with the strength of the older tracks. "Push," likewise keeps The Steps magic roaring forward. Big open guitar chords crash this one, dropping down to a chugging line that rides all the way to the explosive chorus.

The old songs need no introduction. "Dagger," "Loose Mind," and "Cold Floors," were three of my absolute favorites from the first album. Here, they sound fresh and ready to rumble, adding extra muscle and bite to the new songs. If you missed the first album, or just want to see what all the fuss is about, don't miss this one. I predict big things for these boys.

--Racer

Thursday, July 30, 2009

Lights Out! – Destroy Create

How did a young new band from Germany wind up sounding like they’re from Cleveland in 1979? Lights Out! are the closest thing I’ve heard to the Pagans since . . . never.

This is real punk rock done right. No whiny melodic choruses, no NYHC mosh parts and, most importantly, no influences past 1982. None prior to the 1st Ramones album, neither. If you love The Zero Boys, Angry Samoans, Black Flag (pre-Rollins), Circle Jerks, DOA, etc you have a new favorite band. English punk lovers shouldn’t feel left out because there’s plenty of UK Subs and GBH to make you happy as well.

Formed in 2006, Lights Out! are probably named after the Angry Samoans song of the same name and not the UFO one (although that could make a pretty cool medley for them to do someday). Destroy Create is their debut album and it’s 14 middle fingers delivered in 21 minutes. The songs are short, fast, to the point and filled with anger. They come fast and furious one after the other with rabid energy. The rhythm section plows through everything in its path with vintage harDCore speed like Void or Minor Threat. The guitar is a piece of junk played through a shitty amp turned up way too loud for an obnoxious tone that will piss off all the shredders at the local Guitar Center. There are no solos to speak of, only furiously downstroked barre chords. The vocals are snotty and shouted in a bored Midwestern monotone.

“Something Is Rotten in the Age of Hope” sets the tone by letting you know that “I’m so anti” to a riff lifted from “My Old Man’s A Fatso” by Angry Samoans. At 2:01 it’s the 2nd longest song on the album. The longest song “Destination: Annihilation” clocks in at a “Freebird” like 2:09 and brings to mind vintage Weirdos. The rest of the songs average around 90 seconds and have positive titles like “Shut Up and Obey!” and “Blast Of the Fed Up.” The title track has a bass solo in between screams of “DESTROY CREATE.”

Go return a bunch of cans and buy a quart of the cheapest beer you can find with the nickels. Raid a party, steal some hubcaps and spray paint the walls to the sounds of Lights Out! Live fast, die hard.

--Woody

http://www.myspace.com/lightsoutpunk

Not on Amazon but can buy it from Dead Beat Records


LIGHTS OUT! stuttgart

Wednesday, July 29, 2009

Rumors Heard in MySpace, Vol. II, Episode 7

It seems like forever since we all clambered aboard this music fueled contraption that takes us to such wondrous lands. If memory serves me right, last month’s episode was somewhat abbreviated as most of my spare time was focused on a preparations for a Field Trip on the East Coast, and I couldn’t go into great depth on some of the hidden gems lurking in the world of MySpace. So, now that I’m back in the saddle again (thank you for the screeching melody, Mr. Tyler,) and life is falling back into its normal routine, I’ve been able to delve deeper in the seemingly bottomless pit of cyber music. This month, as per usual, we’re headed to lands afar, so I hope y’all updated your passports. Buckle up, Waveriders! With Racer piloting this beast and Woody stirring drinks, we’re gonna’ traverse this globe and check out some more of the best music that you’re not listening to!

Our first stop this month will be to a land that the U.S. media has portrayed over the years as being a war torn land who’s inhabitants live in constant fear of bombed by groups of hostile neighbors. Being that this picture is being painted by our reporters, I’m going to assume that the Israeli people are a happy lot and the land is a lush paradise. Really . . . the place can’t be as bad as we’re hearing if the land can be called home to one David Broza. Now, I’ve been listening to Broza’s work for the last decade and I always find that he has a fresh take on a piece of music, even after repeated listens, there’s always that something that I never heard before. It can be as simple as a tone of his voice, a fill on a flamenco guitar passage, a chord progression, whatever. He seems to do it right every time out. While surfing the MySpace cyber wave, I saw that he updated the songs on his player and realized that I had yet to touch on his brilliant songwriting, somewhat acoustic folk-y vibe with a bit of rock and world flavor. It looks like he has a new album being released, but don’t quote me on that. He does, however, have a number of new tracks uploaded that highlight that rich, oh-so-rich, voice. Lordy, there’s some passion in there and a quality that’s hard to describe. And as for the music, think that earthy Cat Stevens acoustic sound without the edge and a bit more easy listening. If you want to hear the stuff that got me into his sound in the first place, listen to the track “Time for Trains.” It’s kinda’ Springsteen-ish, just a little less blue collar. The albums that I have are Time For Trains and Second Street, and both come highly recommended from Yours Truly. www.myspace.com/dbroza


Our next stop is taking us quite a bit north to one of our favorite regions of the world, Sweden and Norway. First, let’s catch up with our doom-y goth rockin’ friends in Katatonia as they power away in the reek filled halls of their studio to put the final touches on their new album. We recently found out that there’s now a release date as well as a title available for the masses. Night is the New Day will hit the stores on the 19th of October in Europe and a week later in the U.S. and will be released through Peaceville Records. From the posted diary, it sounds like we’re in store to hear some deeply atmospheric passages and acoustic works mixed with the traditional Katatonia metal sound. These guys have always pushed the envelope further and further with each recording once they dropped their full on death metal sound. The music has consistently become more and more moody with each release. Night is the New Day promises to show more of that musical growth. www.myspace.com/katatonia


While we’re enjoying our Swedish summer, we’re going to check out a newer band. They call themselves Corroded and they have a cool thing going on. Gritty, hard edged rock with songs like “Leave Me Alone,” and full on metallic, head bangers with “Come On In” and “Inside You” show these guys are above average. A nice balance of angst ridden guitar pummeling with beautiful vocal melodies make up the body of their latest release, 11 Shades of Black. For our European Waveriders, it looks like you can catch these guys on select dates through the summer. I’m not certain if that’s Sweden that they’re playing in, but that would be my assumption. Damn . . . I really need to bone up on my Swedish if I’m gonna’ keep dragging everybody out here! www.myspace.com/corrodedsweden


Heading west, we’ll cross into Norway and visit with Sarke. Have y’all picked up a copy of Vorunah yet? This is just a friendly reminder that it’s a killer of an album and is becoming a favorite for my end of the year top ten list. Anyway, the main reason I wanted to bring everybody here was to take note that Sarke will performing at the Wacken Open Air Festival, which in itself is so over the top spectacular, but what is is that the legendary Tom Gabriel Warrior will join the lads on stage for a rendition of the classic Celtic Frost tune, “Dethroned Emperor.” See . . . this is one of the reasons why Europe will always entice me. The U.S. doesn’t have cool festivals like this that highlight legendary acts of metal. . . . so, this year’s Wacken festival not only includes this extraordinary collaboration of Sarke, Nocturno Culto, and Tom G. Warrior, but will also feature the likes of Motorhead, Nevermore, Tristania, In Flames, Saxon, Enslaved, Machine Head, and so much more. Racer . . . we really need to get press passes for this one next year. www.myspace.com/sarkeofficial


Heading back to the U.S. we need to make a stop in Woodstock, NY. No, not because this is the 40th Anniversary of the music festival that changed the world or so all of us music geeks would like to think. Though that is a good reason, there’s another reason. By the words of a friend who pointed me in the right direction, I tuned into the folk-y and soulful sounds of a singer / songwriter named Bar Scott. First and foremost, what struck me about this music was the power of Bar’s voice. It just lights up the soul and chases away the crud that’s been building up in there for years. Waveriders, do me a favor and listen to a few of the high points from the posted songs. Check out the vocal harmonies on the song “Like It Was.” C’mon . . . is that cool or what? Somewhat operatic, a touch of theater . . . it’s those kind of nuances that keeps me digging deeper and deeper in to MySpace for music! And then there’s the cello on the song “Parachute.” Is there any instrument that sounds as wondrous as a cello? Love it! The song builds upon itself with every note, just getting more and more passionate with every passing second. Follow the link, folks. Don’t be shy. www.myspace.com/barscottmusic


Still traveling west, we make our way to Chicago on the recommendation of our resident bar keep, Woody. There’s this sleazy, bar room brawlin’, alcohol swillin’ bunch of rockers going by the name Low of the Low and they’re tearing it up with a gritty stoner metal sound that immediately had me thinking of bands like Down or later era C.O.C. Crap . . . check out hard driving, head bobbin’ tunes like the wah drenched “Reduce to Zero” or the profanity laced tirades of “Mississippi.” These guys have that groove that gets me tipping back a beer and unconsciously reaching for the pack of smokes that I dropped fifteen years ago. It’s honest rock that’ll give you a swift kick in the backside and then give you a high five for your troubles. Makes me wanna’ hang out with the lads, talk shit, and cook up some brauts!
http://www.myspace.com/lowofthelowcom/lowofthelow


Racer turned this sucker to the south and parked us directly on the border of Tennessee and Mississippi (maybe he was inspired by the Low of the Low song?) so that we could catch up with a band called Evanscapps. These guys recently released an album on Rock Ridge Music called Last Time, and interestingly enough, this musical project is made up of Ean Evans (Lynyrd Skynyrd) and Bobby Capps (.38 Special.) I somewhat expected this to showcase their southern rock roots, but was turned onto something altogether different. Though the southern rock thing is apparent throughout the album, there’s a harder edge to the whole thing. Try imaging the detuned alternative sound with southern flavor, something akin to 3 Doors Down, but not as refined. The album opener, “Hell If I Know,” is a straight up rocker with a metallic hint to the massive riffage, but the edges are eased by the catchy melodies. “Dead Is Rising” is much the same. Heavy palm muted guitar riffs with distorted vocals over a thunderous drum beat give way to a melodic chorus that captivates with its dynamics. A number of years ago, there was a band tooling around called Cry of Love that captured a similar sound. Heavy, but soulfully bluesy and steeped in the southern swelter. Strong stuff. Spend some quality time groovin’ to these lads! www.myspace.com/evanscapps


Finally, we’re back in California and news has come across the wire that The Soul of John Black has posted a new song on his page. On further exploration, there certainly is a new tune called “Emotions” that is a bass driven groover, jam packed with a huge hip shaking helping of soul. Lord, this tune is simply dripping groove that I defy you to not move while listening to it. It hits the entire being and you’ll become part of the rhythm, almost like some sort of sentient being that’s made of music rather than bones, muscle, and various fluids. Yeah. John Black is the man and he warrants more than your attention. He deserves your undying servitude to make his a household name. www.myspace.com/thesoulofjohnblack


Oh yeah . . . groove on, Waveriders. Until next month . . . - Pope JTE

Tuesday, July 28, 2009

Ripple News - New Mike Kinsella - Owen Album to be Released - Free song download

We've written several times about Ripple favorites, Joan of Arc and their mercurial alt-rock. Well, never content to lay low, Mike Kinsella has several side projects including his exquisite recordings as Owen. As he began writing his fifth album, Kinsella became a husband and a father. For a musician who has never been afraid to address deeply personal topics in his songs, it would be impossible for such life altering changes not to affect the music he creates. And so, it is not surprising that New Leaves, as its title suggests, finds Kinsella branching off the core aspects that have always characterized his songs - distinct vocal inflections, biting wit and unique guitar playing - by adding fresh flourishes.

On New Leaves, the arrangements are more elaborate, the song structures more complex, and the lyrics more refined. As proof that Kinsella is ready to embrace this new life, the album begins with its title track - one that fittingly sets the tone both musically and lyrically for the next nine songs. Unlike the slow-building introductions on previous records, this driving opener is propelled forward by a backbone of acoustic guitar and melodic piano.

Polyvinyl will release New Leaves nationally September 22nd. For the first time ever, Owen will be performing with a full band at both record release shows at Chicago's Beat Kitchen. The first single, "Good Friends, Bad Habits," is available for download below.

New Leaves Tracklist

1. New Leaves
2. Good Friends, Bad Habits
3. A Trenchant Critique
4. Never Been Born
5. Amnesia and Me
6. Brown Hair in a Bird's Nest
7. Too Scared to Move
8. The Only Child of Aergia
9. Ugly on the Inside
10. Curtain Call

Tour Dates

9/16 Urbana, IL @ Canopy Club (Pygmalion Festival)
9/18 Chicago, IL @ Beat Kitchen* (Full Band Record Release) with Bob Nanna
9/18 Chicago, IL @ Beat Kitchen$ (Full Band Record Release) with Davey von Bolen

* Early Show / All Ages
$ Late Show/ 21+


MP3 Available for free Download:
Good Friends, Bad Habits

Pre-Order New Leaves: http://www.polyvinylrecords.com/store/index.php?id=912


Monday, July 27, 2009

Bigelf - Hex


There's an old saying that goes something like this. "Though I walk through the valley of the shadow of death . . . I wouldn't want to set up camp there." I think the same thing could be said for Damon Fox's mind.

The main architect of the glorious doom, bombastic glam that is Bigelf, Damon's mind is not a safe place for the uninitiated. No one knows what's lingering behind each synapse, hiding between the axons, lurking within the dendrites.

Last year, I thought I was going out on a limb when I named Bigelf's mind staggering album, Cheat the Gallows, my number one heavy album released in 2008. Turns out, many other of the contributors to that Best of List, felt similarly, adding Cheat the Gallows to their lists as well. Well, I got news for you. In 2007 the Bigelvin men released an album Hex, that in many ways is just as impressive, and certainly heavier, than Gallows. If it had been released this year, it would already have the top spot nailed down.

Released on Custard Records, Hex explores the same virtual roads of insanity that Gallows explored but if anything, it's an even darker, heavier affair. Whereas Gallows was a momentary visit to a darkly demented carnival, Hex is a full-time institutionalization into the asylum. The same big flourishes of Alice Cooper, Pink Floyd, and Sabbath can be found but some of the more pomp rock ELO-isms of Gallows instead are replaced with the riff-mongering flavor of Off the Record-era Sweet. In all, it's a massive, gut-wrenching, sanity-defying journey through the chasms of one man's incredibly twisted brain, and what a staggering feat of beauty that is.

"Madhatter," starts this affair off, our admission to the Mental Home, heaps of massive Sabbath riffery puling under the maniacal laughter of hordes of insane minds. Big glam flourishes layer across as the song launches headlong into the "Another Brick in the Wall,"-style verses. Damon Fox's voice is in fine form, sounding substantially like that monstrous demon living inside my head, calling out all my darkest fears. Everything about this song rocks harder than most of the tracks on Gallows. Just listen to the scratch guitar as the verse breaks down into the chorus. Seriously, it's hard to find words to describe the intensity of this song and the freakishly strong craft. It's big, it's loud, it's bombastic. It's over-the-top and nearly psychotic. It is just a fucking masterpiece of demented rock. Bigelf make it clear that they operate in a dark dimension all of their own making.

Macabre prog I call it, and if that label sticks, then I'm selling it!

"Bats in the Belfry II," reaffirms that Damon Fox's mind is a horrifying place to visit. Huge synth washes flow over the densely Roger Water's-esque Pink Floydism of the song. Big organ tone and acoustic guitars layer on, the whole song building slowly, adding to the weight of it's own mental instability. "Pain Killers," attacks us next, turning up the amplitude big time. Riding some chugging riffing into its huge explosion of purple nail-polish, dark-twisted glam. This is Sweet after a long weekend of downers, trapped in a Halloween haunted house with no hope for escape. The riff here lays out perfectly with Fox's vocals, building tension through the horror show that lives inside his skull. Hollow-eyed patients pass you in the hallways. Slobbering, raving lunatics eat paint chips off the wall. Sadistic orderlies laugh themselves silly preparing your next acidic enema. This is no Happy Homes resting ground, this is Damon Fox's asylum from Hell, and no medication can make the visions go away.

"Disappear," brings on a jazzier vibe, changing pace, just like the boys did so effectively with Gallows. A beautiful, haunting bass line leads us in gently, gingerly, like we're being guided by some old man who we don't really trust and fear he could mutate into an ancient slobbering skeleton at any time. Pink Floyd lives here big time, camping out in the synth washes, the choral structure, the dynamic of tension and release. The song plays out like a moment of respite from the sheer insanity that is Bigelf, but in reality its a false lull, a dishonest moment of security. In reality we're being strapped down to the cold steel table in the asylum, the demons hiding just out of reach, ready to pounce at a moment's notice. Damon sings this one with remarkable depth and emotion in his voice, the whole shebang leading to some tasty guitar work from Ace Mark. A troubling, unsettling, starkly terrifying song, and beautiful because of it.

Your journey through the asylum continues through the "Have a Cigar,"-isms of "Rock and Roll Contract," the just-downright glam riff-rocking of "Sunshine Suicide." It's circular riff reminds me of the Beatles "Day Tripper," but from darkened alter-dimensions. Running down the peeling hallways, past the mad-laughing inmates strapped in their straitjackets, "Falling Bombs," explodes out of the asylum P.A. system in one pounding wave of bombast after another. Damon's voice takes us to new heights of anxiety as he wails through the chorus of "Falling Bombs," Duffy Snowhill's bass and Froth's drumming beating down on us with the oppressive force of the orderlies cattleprod.

Finally, herded into the corner by the crazed staff, "Black Moth," erupts as the physical embodiment of all of your darkest fears. Like the best of Alice Cooper, Damon locks onto his twisted muse, the Black Moth being symbolic of every one of his deepest nightmares. Yet throughout all of the sheer horror, and throughout the whole album, Fox manages to contrast the sheer heaviness of his macabre vision with some glorious melodies and moments of pure artistic beauty and genius. Not an easy feat when the subject matter is this dark, but one Fox seems to handle effortlessly.

But the institutionalization doesn't stop there. All the way to the end, a hidden track, early (demo?) version of their hit "Money, it's Pure Evil," there are no safe moments here. Bigelf never drop down to rely on rock conventions or cliches. With screams of madness rampaging through the darkened corridors, Fox just keeps on digging deeper, and deeper into the human psyche. Not liking very much what he finds there. But perhaps this is best put in Fox's own words from the track "Carry the Load." "There's no treatment for what I've got/leave me here to die and then rot."

Yep, not a place for the timid.

--Racer

Buy here: Hex


www.myspace.com/bigelf



Sunday, July 26, 2009

A Sunday Conversation with The Soul of John Black

It wasn't that long ago that our friends at Miles High Promotions dropped a soul bomb into our lap, the surprising and deeply rich album by the The Soul of John Black. As you can imagine, it only took us a few microseconds to know we were hearing something pretty special, and only a few microseconds after that to ask the ever-talented John Bingham, the mastermind of The Soul of John Black, to come pay us a visit on our red interview couch. Now, most often our guests love to hang and chat, sharing stories and philosophies amongst a cold brew. With Mr. Bingham, well, let's just say he let's his music do the talking.

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkle, 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 epiphany's 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?

Iggy Pop


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?

There's no one way I could nail that down.



Where do you look for continuing inspiration? New ideas, new motivation?

Every day life is the inspiration


Genre's are so misleading and such a way to pigeonhole bands. Without resorting to labels, how would you describe your music?

My Music.


What is you musical intention? What are you trying to express or get your audience to feel?

I play music because I enjoy it. I do it for myself


In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?

Music is from the heart,the level of complexity is determined by the examiner.




The business of music is a brutal place. Changes in technology have made it easier than ever for bands to get their music out, but harder than ever to make a living? What are your plans to move the band forward? How do you stay motivated in this brutal business?

I just live my life.


You've played with Miles, toured with Fishbone, and more. Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

Sorry.


Where do you see you and your music going in ten years?

I don't know.


What makes a great song?

I don't know.


Tell us about the first song you ever wrote?

I don't remember.


What piece of your music are particularly proud of?

??????


Who today, writes great songs? Why?

Kanye ,why ???? I don't know.



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

Live music.


What's the best record store in your town?

Amoeba.

Short and sweet and too the point. No risk getting bored with this cat running off at the mouth. He'd rather run off with the guitar, And what a great sound it is. All you fans of deeply soulful blues, check it out.

Saturday, July 25, 2009

Another Ripple CD Giveaway - Your Chance to get the Mighty High Album, Drug City, for free!

Just because we love all our loyal waveriders so much, we thought we'd hand carry another special gift for you.

We had such a freaking great response to our free offering of the wild Mighty High platter, Drug City, that we just went ahead and did it again. So now everyone gets one more chance to tune into this riotous slab of balls out, scuzzy, fuzzed-out, punked-up, high-as-a-fucking-kite, stoner rock.

Now if that doesn't show you how much we love you, I don't what will.

Mighty High blast out an adrenaline rush of riff-crazed, stoner madness with the elegance of a charging rhino in heat visiting the woman's club. We're talking sleazy burst of gutsy rock like, "Breakin Shit," "Drug City," and "Stone Gett-off." Our main man Woody and his fried companions of chaos, attack their gits, drums and bass like they've had one too many hits of the adrenaline bong, and damn, if that isn't a good thing.

And this free giveaway couldn't be better timed. Turns out the main High Man, Woody, has conferred to us that he's into recording/finishing the band's new single. I suspect it's going to be offered for sale on the band's webpage. So what we'd like you to do is pop on over, download this radical rampage of stoned-out punk metal, and if you like what you hear, support the band and buy their new single. In the end, you get great music, the artist get's paid, and we're all happy.

http://rapidshare.com/files/194824414/Mighty_High.zip.html

Friday, July 24, 2009

Eryn Non Dae. - Hydra Lernaia

These are dark days indeed.

One might think that when Eryn Non Dae. signed with Metal Blade that things might be cheerier for the lads. And, though the individual members of the band might be excited and hopeful, the music that they’ve created is anything but. Hydra Lernaia is one of those uber-dense pieces of music that portrays a world of darkness and despair, but not in the evil, satanic, boogey-man is gonna’ get ya’ kind of way. Think more along the lines of, “Gee, I have no education because my family was too poor to send me to school, but I can’t get a job to pay for further schooling because I have no education. So I guess I’ll just enlist in the military and die for a cause that I don’t believe in.” I’m not saying that the guys from Eryn Non Dae. are uneducated . . . far from it. In fact, they speak with the aged wisdom of sages, and it comes out in the music. They see what’s going on out there. They’re not fools. And they’re more than happy to spread their dark outlook to anyone who’ll take the time to listen.

Well, I listened and once I got through the initial onslaught of savagery, I found the shimmering beauty of hope interwoven within the elaborate tapestry of despondence. “Blistering Hate” is a huge slug-fest of a tune. Hammering away at the senses with distorted guitars droning away in the background, the double bass drums pound their way through the skull with all the subtlety of a New York City jack hammer. The power of this song is so intense that it’s almost too much, but then the dissonant guitars vanish and the heaviest bass rumble this side of Godflesh’s Streetcleaner steps into the forefront. Listen to the guitars as they enter slowly and methodically, adding incredible texture before the tune explodes into the earlier dissonant frenzy. As if that whole transition wasn’t bad-ass enough, the band then down shift this vehicle of devastation and enter this bizarre, almost psychedelic passage. Fuck . . . that is simply awesome! The bass goes catawampus, swirling in every crevice of the mind while the guitars add tones of texture. This song is a rollercoaster of abuse and power mixed with elements of technical beauty.

Then, as “Blistering Hate” fades away, “Existence Asleep” takes over with that overbearing bass tone that can best be attributed to the production mastery of Mobo. My God that’s heavy! This song, much like the previous tune, is packed with time changes and spastic rhythms, droning tones, and frenzied bursts of angst. There’s a great dynamic feature to pay attention to in this one as well . . . as the band powers away with a wall of sheer noise, the vocals do this great scream that fades out as the music drops back down to just the bass driven groove. It’s a little thing, I know, but it’s the kind of moment that breaks up the song, adds a unique texture and provides a ray of light in a pit of overwhelming darkness.

By the time we get to the center of this album, the senses should pretty much be mush, which is the perfect time for Eryn Non Dae. to force their will on us. The instrumental “Lam Tsol Oua” is an ambient adventure that eases the listener into a state of complacency. Huge waves of textured sound cascade across a darkened backdrop, like stars in an otherwise darkened sky. The suddenly, “Through Dark Skies” bursts into a vibrant explosion of fireworks, broken up by heavy bass grooves that have a rich quality to them, rich qualities much like the feel and smell of freshly turned soil. Soil that’s damp with moisture, loamy, heavy with the reek of decomposing matter. And then, as we’re shoveling through this rich earth, we dig up a worm eaten corpse and the subsequent explosion of blast beat discordance reflects the instant surge of adrenaline through our blood stream as we turn tail and run in panic. I’m sure it’s not the theme the guys in the band are trying to pass along, but the emotion is pretty much the same. Moments of serenity torn into shreds by the sudden appearance of horror, irrational fears breaking through the barriers of the rational mind, psychological twists to toy with the common precepts of reality . . . Hydra Lernaia holds a dirty and etched mirror up to our sanity.

Each and every song on Hydra Lernaia has something special going on in it. From the palm muted guitar riffs mixed the narrative type vocals on “Opposites From Within” to the sudden down tempo break in “When Time Elapses,” Eryn Non Dae. do a great job of mixing up the emotions. It’s one thing to pummel the senses for an hour at one constant speed and one constant tone, but it’s something on another level of musicianship to shift modes mid track to challenge the listener. It’s this latter effect that has always drawn me to this form of music. I liken it to classical music where there’s always something going on, a hundred different instruments doing their own things, but working in conjunction to create a common theme. Eryn Non Dae. mix so many different sounds together to create a rich palette of sound, as dense and ominous as it may be. If you’re a fan of Neurosis but find them just a hair too soft, Eryn Non Dae. will fill that whole in your musical diet. Just listen to the last track, “Pure,” and get lost in the drone. - Pope JTE







Thursday, July 23, 2009

Yob - The Great Cessation

There’s heavy, and then there’s YOB.

Hearing YOB’s 2005 album The Unreal Never Lived for the first time earlier this year I was stunned. At times it sounded like David Wayne from Metal Church fronting Sleep. At other times it sounded like Celtic Frost covering Swans. How come none of my friends into High On Fire or Electric Wizard told me about these guys? Like most good things in life, it’s always better to find out for yourself.

Yob became active again in 2008 after breaking up in 2006 after almost 10 years of service to the unforgiving beast of doom metal. In between, Portland, OR guitarist/vocalist Mike Scheidt started a band called Middian that released one album and then got stuck in the middle of an ugly legal battle with another band with the similar name Midian from Wisconsin. I don’t know the full story, but it sounds like Midian were a bunch of jerks who saw this as an opportunity to fund their band that didn’t record or tour. Lame.

The legal profession’s loss is doom metal’s gain because Yob’s The Great Cessation is an intensely heavy album. Heavier than Leslie West and Pig Champion at an all you can eat Indian buffet. Even heavier than the mess in the bathroom afterwards. That’s heavy duty.

Two and half minutes into opening song “Burning The Altar” Mike Scheidt lets out the scream he probably wanted to do in a lawyers office circa 2007 on a daily basis. When the lyrics of the song kick in, he sounds as pissed as when someone hides Wino’s bowl. Aaron Reiseberg’s bass bulldozes, the drums of Travis Foster pummel and Mike’s layers of guitars crush and swirl around your bruised cranium.

Twelve and a half minutes later, the fun’s over and things get even slower on “The Lie That Is Sin.” Two minutes in it comes to a complete stop and the guitar plays a sparse repeating figure that eventually erupts into a full blown epic jam. Right around the 4:20 mark (coincidence?) a strong vocal hook emerges that sounds like Ozzy trying to break free from the murky mix of Black Flag’s In My Head album. After 7 and a half minutes a quieter groove presents itself but we all know that it’s just to make the next part even heavier and wraps up a tidy 11 minute song.

“Silence of Heaven” is the second shortest song on the album clocking in at just under 10 hellish minutes. Most of it is super slow pounding that recalls the vintage violence of Swans with tortured screams and some occasional crooning.

After that, “Breathing From the Shallows” sounds like it could almost be the hit single of the record. It’s only 7 and a half minutes and has a memorable guitar riff. Mike lets out a disgusted death grunt like he’s looking at the back cover of Celtic Frost’s Cold Lake album. The vocals alternate between death metal growls and angry cat in heat. Maybe it’s not a hit after all, but it’s memorable.

The title track is a twenty minute trip that starts off like some lost King Crimson jam from 1973. The doom metal comes in around the 6 minute mark, probably too late for some of the stoner doom metal police, but that’s what fast forward buttons are for if they don’t like it. Even though it’s the longest song on the album, it’s a little less heavy than some of the others. It certainly is an endurance test to get through the whole thing, but it’s a rewarding listen.

Getting through 5 brutally heavy songs in an hour left me with a feeling of accomplishment. The whole mood of The Great Cessation is very dark, powerful and intense. I actually felt better when it was all over and my attitude improved. It’s very cathartic. I’d recommend it to anyone suffering from depression, rage or frustration.

--Woody

buy here: The Great Cessation


http://www.myspace.com/yobdoom

Wednesday, July 22, 2009

The Single Life - Another 7 inches of Fun

No long introductory paragraph this time, just right into the fun.



The Garage Gods - Had Enough of Your Lies/She Don't Love You Anymore.

A beaded go-go skirt blast of classic garage-psych-pop, this 7" will melt the heart of all classic and new vintage rock fans out there who ever dreamed of owning a Nehru jacket. "Had Enough of Your Lies," has just about everything a fan of '60's mod haircuts and garage classics could ever want; layers of Vox organ, jangling guitars and a melody that could've come from a page torn from Ray Davies notebook. Dig that huge fuzzed out guitar solo midway through before the verse returns, rumbling with a righteous menace. Great harmony vocals through the chorus also work to lift this one above the ordinary.

Backside "She Don't Love You Anymore," doesn't let the sixties-garage passion fade. A slower, more haunting song, just perfect for a montage scene in some beach movie of some poor kid driving his roadster while he watches his girl walk away with some other man. Through both songs, the understated vocals work perfectly with the mood. Big organ solo moans through the middle, like some lost-lover's lament. Big melodies, catchy choruses. Yep it's all here. And just dig that crazy cover art. It looks like some lost go-go band from the Flintstones cartoon. Its just crazy cool.

Think the Blue Magoos, think early Kinks, think the Zombies. Think whatever you want, then stop thinking and go buy this.

While you're at it, check out the dynamite Lost In Tyme fanzine, a Greek creation, celebration of all things mod and garage. Each issue comes with a CD full of great tunes also.

www.myspace.com/lostintymefanzine
www.myspace.com/lostintymerecords



Tigers Jaw - Spirit Desire b/w We Are Great, There is Only One/Crystal Vision

Spirited indie rock that splits the grey zone between drone rock and Joy Division inspired post-punk, Tigers Jaw are a cool new flashing red light on the Ripple radar. Released on the newly-formed Tiny Engines label, this is a band and a label to watch. Let's do the label first. Formed by a music writer and part-time music promoter, the love Tiny Engines has for their music is worn like a mushy badge of honor, draped all over this 7" like a mother's blanket wrapped around her child. I mean seriously, it's not often I'll drool over the packaging of something as simple as a three-song single, but damn if Tiny Engines didn't get it right. Wrap around parchment style paper surrounding the art, a free mp3 code to download the songs to your iTunes that includes a bonus track that's not on the disc, and then there's the vinyl itself; glorious shades of marbleized yellow and orange. Yeah, yeah, I know, you don't buy a 7" just because it's pretty, but damn it helps. And trust me, this one is pretty. A lovingly constructed package.

Now for the music. I've heard names like Superchunk bandied about in describing Tigers Jaw and I'm okay to start there, but really, the boys mine their own tunnel of claustrophobic, atmosphere drenched indy rock. Distorted guitar lead us in, the tension deepening when the tom-heavy drums kick in. From there, beautifully done off-time drumming drives the engine of this melancholic ditty. Shades of light penetrate the density through the elevating chorus, the drums picking up extra flare, the guitars layering on thick, the vocals disaffected but with a glimmer of hope. Nicely done. The flipside explores similar themes of light and shadow; nice bass breakdowns punctuating "We Are Great . . " along with some sparkling guitar, while "Crystal Vision," hunkers down into the droning of distorted guitars with bass driven verses. Spasms of guitars burp through the breaks, adding a lighter feel (reminding me for no good reason of a less poppy Gin Blossoms, or a more dissonant Weezer.) No matter which way you slice it, this one's a winner.

www.myspace.com/tigersjaw
www.tinyengines.net



Promonium Jesters/Adaptive Reaction - split 7"

Leaving the indy world of rock and roll behind, this next 7" plunges us straight into the techno industrial world of underground S&M clubs, mind altering substances, dark eyeliner and women who carry big, spiked cat-o-nine-tails. Promonium Jesters attack us first with their blistering assault of old school industrial rock, "Skull Duty." Massive waves of thrashing heavy guitars, tsunamis of synths, and armored batteries of drums lead the charge as the band subversives their mix with samples and all sorts of unnamed psychedelic exploration. Revving up the BPM to levels that could cause your heart to fibrillate, the song escalates into a frantic mania of guitars and keys. Never losing that all important beat, this is dense, metallic and heavy as shit. Maybe the song should be called "Skull Crusher," instead. Influences like KMFDM and The Revolting Cocks are here, but so are all the industrial standards, thrown into their blender of terror and spewed back out fully frapped. Fortunately, the song isn't a one trick pony of high rev BPM and the crew inject enough nuance and play with speed to keep it interesting all the way through.

Not to be outdone, Adaptive Reaction on the flipside plow a similar field but do it all their own way. Throwing more dissonance into their timewarp, high-N-R-G BPM beats and downtuned guitars, shades of Foetus or Throbbing Gristle reign supreme here. Adding to the intensity, Adaptive Reactive explode in brief, momentary flashes of dark-trip ecstasy; each of their punk industrial bullets rammed down your throat in less than 2 minutes. Of the two, "Nightmare," is my favorite. Aptly named, this is the theme music for some horrific underground club scene in a movie where all the patrons pierce their bodies under the laser lights while sipping on human blood. An absolutely charging methamphetamine shot of horror vocals, droning synths and mutated guitars and one catchy-as-fuck riff. That's not to say "Gangrene," is a slacker, it also leaves an indelible mark on your cranium with its synth heavy layers and crushing metallic guitars. Female vocals here remind me of X lost in a horror show and attacked by a morbid light show. If you can picture that. Not for the timid.

www.myspace.com/promoniumjesters
www.myspace.com/adaptivereaction




Mos Generator - Jam Room Demos

It seems that things wouldn't be normal here at the Ripple if we didn't drop in every so often to see what our good friend Tony Reed is up to. For this visit we're dropping back to the Mos Generator crew and this gorgeous slab of green-and-black camouflage vinyl single; Jam Room Demos. Two monstrous sides of doom-laden, riff-mad heavy rock await us here. "Step Up," buries itself into the Black Sabbath gravesite, unearthing some brutally heavy riffs of the ilk that'd make the Iommi-man proud. Big and doomy and heavy. What else could you ask for? Some inspired drumming, a steady bass and a fine emotive Tony Reed vocal performance make this one a winner. Just wait until the riff kicks in at the choral break. Yep, that's gonna get played on Ripple Radio.

What the first track alluded to in style, the flip side make clear in title. "Godhand Iommi," bursts out in guitar tones reminiscent of Sabbath's "Faires Wear Boots," and takes off from there onto one mad, hellish highway of guitar histrionics. I mean, damn, can that cat play. Not to be outdone, Scooter Haslip rides his bass in huge looping Geezer Butler passages, while Shawn Johnson pounds away like a maddened Bill Ward. Time changes, mood shifts, gentle passages, and moments of pure rage, make this instrumental a burner. I always said (to myself and anyone who'd listen) that there's nothing more boring than a doom metal/stoner rock instrumental. Damn, looks like I was wrong again. Mos Generator fans and fans of Sabbath and great heavy rock, don't miss this one.

www.myspace.com/mosgenerator



Ze - I am Glam

Perhaps not something that you'd expect to be reviewed on the Ripple, but then we always told you there were no barriers to our mad search for music, as long as it entertains us. And that's exactly what this one does. This time coming from Kuala Lumpur, Ze (pronounced Zay) teamed up with Belgian producer Ruben Debusschere to create a short-strapped handbag worth of radiant trashy dance music. Or as Ze says herself, she is one loud and bitchy electropop singer. And trust me, what she says is true. "I Am Glam," is her self-penned piece-de-resistance, an absolute gutter-fest of the trashiest electropop drum and bass you'll put your eye shadow on to. Looping Yaz-style synths, programmed beats, and then there's Ze, wailing on in her raving bitchfest that "I am what I am/Glam is what I am." And it's her attitude that makes the song work and the whole thing so endearing. Rather than coo like some puffed up diva, Ze belts the song out with so much passion and conviction, it's almost punk. And that's the way I'll leave it. Absolute trashy punky electropop, guaranteed to get the bodies moving on the dancefloor, the boys bouncing under the strobe lights, and girls fighting over their Gucci bags. Just what the doctor ordered to get the party started.

www.myspace.com/zebrainpink

Tuesday, July 21, 2009

Ripple News - Free Album Download - Gene Dante and the Future Starlets

For all of you waveriders out there who're moaning that they just don't make flashed up, pure theatrical glam rock like they used to . . . have we got a surprise for you. Hailing from Boston, Gene Dante and the Future Starlets literally burst across the cosmic glamosphere riding in a flaming comet tail of David Bowie, Peter Murphy, and Ian Hunter. There's even a shade of T. Rex in their riff heavy, pop savy glam and roll.

And to make this world just a little sweeter place, Gene Dante and the Future Starlets invite all waveriders to download their new album, The Romantic Lead, free for a limited time. That's right . . . zero dinero to catch what may be the next great act in glam rock.

Upon hearing Gene, the Boston Herald proclaimed "There's a thrill in his drama-lounge delivery, sturdy melodies and on-the-money band, capable of handling anything from punk to power pop."

So do yourself a favor, click that sexy little link below and bring some glam back into your days. But do it quick, before this free offer becomes nothing but a memory.

http://amiestreet.com/music/gene-dante-and-the-future-starlets/the-romantic-lead/

Monday, July 20, 2009

We Insist! - The Babel Inside Was Terrible

When last we saw We Insist!, they were defying logic with their incredibly infectious release Oh! Things Are So Corruptible, an album packed past the grooves with deft tempo changes infused with a sense of melody that sticks with you like gum on the bottom of your boot. Guess what? The lads are back . . . and they haven’t veered off course in the slightest. If anything, they focused this vehicle of musical expression to a laser fine point and targeted the spirit of adventure square in the center of the bull’s eye. In most cases, one plus one equals two, but when listening to The Babel Inside Was Terrible, one plus one probably equals something more akin to pi. The time changes that this band lives by would send Einstein scrambling back to his chalkboard to recalculate everything that he thought he had proven. Time isn’t supposed to move this way! Then when you least expect it, We Insist! change things up and slap you across the head with melody drenched passages that not only act as a break to the discordant rhythms, but also act as the underlying theme of the song.


With no hesitation, the band opens the album with a screaming example of their mind boggling complexity with the stellar track “Déjà Vu.” Bouncing from off time explosions of rhythm to bubbling masses of bass fluidity to edgy prog influenced guitar breaks to melody rich vocal passages, this song captures damn near every essence of We Insist! What makes this song more noodle twisting and incomprehensible is that the drummer, Etienne Gaillochet, is also the lead vocalist. Hello! How in God’s name can he pull this stuff off?!?!? The moment I first heard this song I simply could not believe what I was hearing. Sure . . . I know a lot of things can be done in the studio to soften the edges and bring a little shine to an otherwise rough and haggard appearance, but c’mon! Are you hearing what I’m hearing? Just the mere idea that music can be performed in this manner is enough to perplex even the greatest minds!

And remember . . . that’s just the first song! We Insist! isn’t satisfied with making us scratch our heads in wonder for a mere five minutes. Oh no! They’re hell bent on putting us through this for near an hour. “Oakleaves,” and “Efficiency and Bad Habits,” are terrifying examples of what the unfettered musical mind can accomplish. Huge moving pieces of sound, roiling through the ether and ultimately hurling every turbulent note against the rocky shore of our subconscious mind. Beautiful melodies that soar in the foreground while droning notes and heavily distorted chords build a foundation of unrest behind the beauty. Both songs show the bands eagerness to explore different sounds as well. Not content with the standard rock format of instruments, We Insist! incorporate xylophones, saxophones, and some of the most bizarre tones a synthesizer can emit. It’s one thing to experiment with sound, but it’s something completely different when a musician can make it sound good. These guys have done that and more!

In an album packed with highlights, “In A Maze” is the point where everything just falls into place. The opening arpeggio passage with the textured guitars dubbed over, the melodic vocals, the synths . . . every sound working in perfect harmony, and then the full blown chords and discordant tones enter the mix, and the tension just bubbles over to riotous levels. Absolutely fucking awesome! The composition is as complex as anything else the boys have done, but there’s a hint of accessibility to this one. We Insist! walk the line between avant garde and formulaic to perfection, mixing in the oddball sounds with the traditional, mixing the melody with the disjointed spastic rhythms. And through it all, the band sounds like they’re having fun! Heady and thought provoking music that challenges the listener, but laced with a buoyant attitude to lighten up the menace of having to think too hard. Can’t get enough of this one!

Let’s face it . . . the whole album is incredible. I could sit back and dissect every song, but that would potentially ruin your experience and deprive you of your own sound exploration. Suffice it to say, you’ll never get bored with The Babel Inside Was Terrible because there’s always something new and exciting, fresh and death defying around every musical corner. We Insist! aren’t afraid of trying something new, following their muse no matter what time signature it’s grooving to, simply to achieve self satisfaction for the art that they produce. And maybe that’s one reason I dig this so much . . . the fact that this band isn’t content with just riding a groove to death or playing the expected notes at the expected times. They challenge the listener to rethink or relearn what they’ve heard up to this point. We Insist! are the Indiana Jones of the music world, in search of the music world’s lost treasures and finding adventure along the way. Let’s just hope they don’t meet an unflattering end in the process. In my book, they captured the bad guys, rescued the damsel in distress, and collected a handsome bounty for their efforts. The world simply needs more music like this. - Pope JTE



Sunday, July 19, 2009

A Sunday Conversation with Sun Gods In Exile

It wasn't that long ago that our very own master of mayhem, Woody, declared for fans of Tank and the Rods to rejoice. Their new favorite band had arrived and went by the cosmic moniker of Sun Gods in Exile. Moments later, with the band's debut Bright Light, White Lines blaring across the Ripple Office speakers, we lost ourselves in the utter abandon of a balls-out rock and roll record. Needless to say, we couldn't wait to have the Sun Gods themselves pop on over for a nice Ripple Summer bar-B-Q and to take up some space on our infamous red leather interview couch. Let's here what guitarist Tony has to say.

When I was a kid, growing up in
a house with Cat Stevens, Neil Diamond, and Simon and Garfunkle, 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 epiphany's 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?

When I was 8 or 9 years old this teenager invited all the neighborhood kids to his garage where he poured a circle of gasoline lit it and played guitar along to Quiet Riot's "Metal Health (Bang your Head)." I was hooked after that! It was the craziest thing I had scene in the humdrum neighborhood and he almost burnt the garage down!

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?

Generally Adam or I will come up with a guitar riff and we will work out the songs as a band with JL putting a lot of finishing touches on the songs. It comes pretty easy to us we have all been friends for a long time but we have great chemistry as a band. I wish we started this project a long time ago.


Where do you look for continuing inspiration? New ideas, new motivation?

I personally listen to loads of rock and roll from the 50's to present and I have never been into learning covers but do get a lot of ideas from classic rock. We are not trying to do anything new or overly groundbreaking we just want to play the rock we love! For instance I love "Boogie No More" by Molly Hatchet I wanted a song like this and wrote one which doesn't sound anything like "Boogie" but has the same feel so it was inspiration without ripping it off.


Genre's are so misleading and such a way to pigeonhole bands. Without resorting to labels, how would you describe your music?

I consider us a straight forward classic rock and roll band.


What is you musical intention? What are you trying to express or get your audience to feel?

I would like the audience to feel good and get in a party mood. I want people to just forget about their problems and be able to get lost in good old rock and roll for 45 minutes.


In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?

Again we a very straight forward so we avoid odd time changes and complexity. We just want a good riff to build the song around.


The business of music is a brutal place. Changes in technology have made it easier than ever for bands to get their music out, but harder than ever to make a living? What are your plans to move the band forward? How do you stay motivated in this brutal business?

You know we talk about this a lot. It's not like the 70's where there was money to be had, people wanting new music and wanting to experience live gigs. I think the internet is the double edge sword; you can get heard around the world, but it only takes one person to leak your album and have everyone steal it. Also I think people are content watching their favorite bands on Youtube. The media is designed to get millions of people listen to teenagers sing covers ala American Idol. It's brutal if you don't love the music your playing you would never take on the financial strain of being in a band.


Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

I was in a motorpunk band called Fury 440 in the 90's I got a pair of leather pants and decided to set em on fire like Nikki Sixx. So I have one of my punk rock buddies spray lighter fluid all over them while I am playing a solo well he lit them and it caught my pants of fire but also the rug covering the stage. It was pretty intense the pants were ruined my legs got some minor burns and we were asked to leave...


Where do you see you and your music going in ten years?
I am hoping we will be playing around the world with some minor degree of success.



What makes a great song?
I really have no fucking clue, but I think that AC/DC writes the greatest songs and their formula is unmatched, so whatever they're doing is what it takes to make a great song. We try and deliver huge guitar riffs followed by rock steady drums and then glue it together with JL's massive bass. This is our formula for a great song.


Tell us about the first song you ever wrote?

It would of been a very simple metal riff in the mid 80's from one of my early teenage metal bands Paid Prophecy, the song was "Pain Asylum."


What piece of your music are particularly proud of?

Without a doubt it would be our debut release Black Light White Lines I am very proud of this record. It was basically recorded in a weekend. All these bands spend months and months in the studio and lose all the raw power which makes rock great!


Who today, writes great songs? Why?

Again I think AC/DC proves to the world they still write great rock and roll classics. Where all the other 70's rock bands that are still around have resorting to writing songs to be hip to the times AC/DC writes albums that could be at home in 1979, 1989 and 2009.. I love early Sykynrd but you would never hear a song like "Red White and Blue" from AC/DC. I also would say our label mates Dixie Witch never cease to blow me away.


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

CD's. They are the most versatile for me. I can play em in the truck on a boom box or a home stereo. Plus you still get the artwork.



We, at the Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to lose ourselves in?

I would say Bull Moose Music.

buy here: Black Light, White Lines


Saturday, July 18, 2009

The Ripple Radio Show: July 22nd, 2009

You’ve read the reviews about the best music that you’re not listening to, now listen to the music that Racer, Pope JTE, and the entire crew at The Ripple Effect write about each and every day. Listen in as Pope and Racer break down the songs, explain in a passionate voice what compels them with each particular song, and provide trivial banter about all things music. We don’t expect you to like everything that’s played, but you just may find that one piece of music that you’ve been waiting to hear your entire life. You won’t know unless you tune in.

The Ripple Effect cordially invites all Waveriders to tune into the Ripple Radio Show on Wednesday, July 22nd at 8:00pm (PST) - This week’s episode promises to be all over the place in typical Ripple fashion featuring music from Bigelf, Prong, Old California, We Insist!, Audio Moonshine, Gumshen, and much, much more!


Ripple News - New Jimmy Page, The Edge, and Jack White Movie - It Might Get Loud

Here's something that should excite even the most jaded waverider.

Sony Picture Classics's new Rock and Roll documentary called It Might Get Loud. The film "tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes)."

Rarely can a film penetrate the glamorous surface of rock legends, but that's exactly what this film does. It Might Get Loud tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge, Jimmy Page, and Jack White. It reveals how each developed his unique sound and style of playing favorite instruments, guitars both found and invented. Concentrating on the artist’s musical rebellion, traveling with him to influential locations, provoking rare discussion as to how and why he writes and plays, this film lets you witness intimate moments and hear new music from each artist. The movie revolves around a day when Jimmy Page, Jack White, and The Edge first met and sat down together to share their stories, teach and play.


View TRAILER: http://www.youtube.com/watch?v=m4EvZtsXz7w

OFFICIAL FILM SITE: http://www.sonyclassics.com/itmightgetloud/
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