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The Ripple Effect: October 2009
The best music you’re not listening to.™Reviews of lost classics and obscure titles. Unheralded bands and songwriters. New bands deserving of greater attention.It’s all here, on The Ripple Effect.
We'd threatened we were going to do it, and just like an upcoming Presidential election, we always deliver what we promise. Wait, I mean unlike a Presidential election . . oh never mind.
But since it's Halloween, we thought we'd give you your own little treat. You don't even have to do a trick to get it.
Here's the story. Once a month, we pick a name randomly from our ever-growing list of waveriders and toss a free Ripple CD your way. Love it, hate it. Do whatever you want with it. It's free!
And the winner this month of a free Cd, soon to be charging towards your postal box is . . .
Seraphitaflys1
Yea! Yea! There is much applause.
We notice that you seem to like '80's-styled rock, so we hand selected the dynamite new Grand Atlantic CD, How We Survive for ya. Hope you like it. Send us a comment under your name, so I know it's you, and then follow that up with an email to me with where you want the disc mailed and we'll get right on it.
The rest of you waveriders, hang tight, another free giveaway will happen next month. For the rest of you, just drooling at the thought of Ripple Music heading your way for the all inclusive price of zero, simply sign up to become a follower of the Ripple Effect and you'll get your chance to win.
It’s no secret that Petty Crux are a Ripple favorite, so it should really come as no surprise that when we received an invitation to catch the band,s first live performance, with their new members in tow, that a Ripple representative would be in attendance. Little did I know that it was going to be lil’ ole me! After all, it was Racer who first heard their album All That Survived The Crash and was so high on these guys that he whipped out some bizarre form of Greco Roman torture, contorted me into pretzel form, and beat me over the head with the album until I fell in love with it. I was left aghast that he didn’t catch the first flight from the Bay Area for this gig, and even more aghast that he would think enough of my abilities to capture music in the live setting to send me off to tackle this assignment. So, with bags packed and a crash pad all set up, I piled in the Popemobile and made the relatively short journey up the I-5 to LaLaLand.
Slowly and organically becoming an industry hotbed for unsigned music, The Dakota Loungehttp://www.dakotalounge.com/, strategically located at 1026 Wilshire Blvd. in Santa Monica, played host for the night’s events. The staff of the club is top notch, friendly and approachable, and they gave the patrons of the club a feeling of belonging. I never once got the impression that I was trying to compete with the “pretty people” of L.A., but that I was taking part in an event where the music was taking center stage and my enjoyment was paramount.
It had been a long time coming for these guys to make their way back in front of a live crowd and to talk to any of the band members prior to the gig, well . . . one would see that they all had a distracted approach to the conversations. They were aching to get under the lights, strap on their gear, and cut loose. Like an athlete sidelined for an extended period of time, unable to perform due to some injury, but one who’s competitive fire was left raging unchecked . . . that was Petty Crux. Light hearted, yet focused on the performance at hand. And when they did eventually take the stage, the packed house shook. The band hand delivered a set of heavily melodic rock with efficiency, musical proficiency, and a level of professionalism that sometimes seems to be lacking in the music world.
With newly appointed bass meister, Zach, laying down a groovin’ foundation of low end, Petty Crux opened the night’s set with “What Do You Care.” Clemente’s smooth as aged whiskey voice crooned out the verses, and to see the glimmer in his eyes, one immediately got the sense that this is where he belongs, in front of a crowd, bearing his soul through his music. And the crowd felt it, too. The up tempo drive of the song had the crowd shaking their collective ass in time with the music and those who were familiar with the tune were in full vocal harmony. Maybe most importantly, to look at the band, to look at the faces of those in attendance, there was joy. Everybody was smiling and having a good time . . . and in these tough times, isn’t that all we can ask for? Music to take our minds away from the crap that surrounds our everyday lives? Petty Crux just may be the cure to our nation’s depression!
The band followed the opener with the jazzier toned “Heroes Are Lonely.” The spotlight immediately was pointed on the other new guy, Taylor, who hammered away at the keyboards with a spirit of Stevie Wonder in his hip pocket. Throughout the night, drummer Paul attacked his kit as if in retaliation towards some deed done wrong, but for this song, he kicked down the funky beats while Taylor’s keyboards grabbed everyone’s attention, and the collective ass continued to shake. These guys simply did not let up on the groove factor, and in combination with the humidity of the room, the masses became a single bumpin’ and grindin’ entity shining under a layer of sweat. Every bit of emotion and fire that the band put out there, the crowd gave back with fair market value.
Throughout the performance, guitarist Jason appeared to be auditioning for a part in one of the Cirque de Sole shows as he balanced precariously upon his effects board. Swaying back and forth on one foot, squeezing out every last decibel of sound he could from the vast array of pedals laid out before him, Jason seemingly picked out notes from the air, processed them in his own special way, and released them back to gyrating crowd. Before I knew it, Petty Crux were powering through what could possibly be the bands catchiest tune of them all in “Apocalypse . . . For Now.” This is the song that first grabbed my attention with these guys when I heard the album and even on this night, it’s the song that had me humming throughout the night, into the next morning . . . over breakfast, down the freeway to my next engagement. I think y’all get the idea. Racer said it first and everybody seems to concur with the term. Ear worm.
Finally, the night ended with a rousing rendition of the album closer, “Hello.” Fan-fucking-tastic! I was warned prior to the gig that there was something special in store with this particular song, but to experience it was something completely unexpected and uplifting. Singer Clemente had the crowd contributing its boisterous and somewhat off key pipes for a rousing sing-along that built and built and built with tons of emotion. As the last notes of the music died out, I got the sense that I got the opportunity to witness something pretty special here. Phenomenally catchy music played with a bit rock n’ roll muscle performed for a crowd who I expect will follow this band with a fiery passion. In so many ways, it’s hard to believe that this was the bands first show with this line up and after a fairly lengthy hiatus. Did I witness history? I think it’s a tad early to really say, but this is for certain, there was something so damn compelling about this Petty Crux performance that I wouldn’t be surprised if this band snowballs and we begin to see these guys on billboards across the globe. Y’all need to go to the bands web page(s) and keep tabs as to when they’re playing again coz’ you’re not gonna’ want to miss them. And when you do catch ‘em, look me up coz’ I’ll be there somewhere . . . ass a-shakin’! - Pope JTE
Most fans of The Stooges are completely unaware of this era of the band. Everyone knows that Ron Asheton played guitar on the first 2 Stooges albums from 1969 and 1970 and switched to bass for the Raw Power era from 1972 until the end of the band in early 1974. But what a lot of people don’t know is that both Ron and James Williamson played guitar in the band during 1971.
Ron asked former roadie Bill Cheetham to play 2nd guitar on the 1970 Funhouse tour dates. Another former roadie, Zeke Zettner replaced Dave Alexander on bass and joined Scott Asheton on drums, Steve MacKay on saxophone and singer Iggy Pop to create a mega 6 headed Stooge monster. Drugs eventually caused this line up to fall apart and then James Williamson appeared on the scene. Bill and Zeke returned to the road crew, James was in and Jimmy Recca took over on bass. For years all that existed of that line up were some photos and a horrible sounding bootleg supposedly from St. Louis.
Easy Action Records in the UK has finally solved the mystery of this era and unleashed a 4CD set of extremely raw live tapes. They make it very clear on their website – these are audience recordings. As you can guess, the technology available to most people in the audience in 1971 was not great. The fidelity is going to be a problem for everyone except the most insane Stooge fanatics. Like me. I’ll listen to anything by the Stooges, MC5, Charlie Parker or John Coltrane no matter how it was recorded. If you can’t deal with the sound of The Stooges’ last stand captured on Metallic KO, don’t even bother with this. If you’ve ever heard the recordings that Dean Benedetti made of Charlie Parker (solos only, on a wire recorder in the late 1940’s), this Stooges box makes that sound like Dark Side of the Moon.
The 2 best sounding discs come from a pair of shows at the Electric Circus on St. Marks Place in New York City May 14 & 15th that were recorded by Danny Fields. Danny is the guy that signed The Stooges and MC5 to Elektra in 1968 and later went on to manage The Ramones, among other things. I’d always heard about how legendary these shows were – Iggy spray painted himself silver, puking on stage, huge amps blowing the roof off of a small club, etc. All of it’s true.
The band worked up a set of completely new material and don’t play a single song of off the first album or Funhouse. Later on, they never bothered to record any of these songs except for “I Got A Right,” which is the opener to all of the shows here. It’s pretty much the same version that we all know and love but it’s a little heavier and frantic due to the 2 guitars and the fact that it’s live. It’s pretty funny to hear the song fall apart on the first night about 30 seconds into it. Iggy just yells “take it” and the band starts over again.
They play the same set in the same order both nights of the NYC shows, but the 2nd show is a little more intense the first. It’s obvious that the crowd is bigger the 2nd night. Everyone who was there the first night must have told everyone how great it was. The crowds both nights are pretty rowdy. Lots of yelling back and forth between the audience and the crowd. Iggy announces that he’s gonna puke at one point. Rumor has it someone in Andy Warhol’s crowd was heckling him to vomit on stage. Iggy always satisfies his audience.
“You Don’t Want My Name” and “Fresh Rag” (or as Iggy introduces it one night – “New York pussy smells like dog shit”) are high energy headbanging affairs. It’s not exactly heavy metal, but they are certainly heavy and metallic sounding. It’s a shame they never worked on these songs more, they could have become Stooge classics. “Dead Body” is a junked out interpretation of Bo Diddley’s “Who Do You Love.” It’s almost 10 minutes and has a great groove to it and killer lead playing from Ron. “Big Time Bum” and “Do You Want My Love” are both fast ones. If you’ve ever heard the Velvet Underground bootleg called “The Legendary Guitar Amp Tape” (recorded from the inside of Lou Reed’s amp during a feedback frenzied set) you’ll know what to expect on this one. The vocals are barely audible at times, probably because Iggy is somewhere out in the crowd. When you can hear him he’s screaming his head off. The Stooges played loud and in small places where the PA couldn’t compete with the wall of amps. But there is an acapella version of “The Shadow Of Your Smile” from the first night that the girls in the audience seem to like.
The previously released tape from St. Louis has been cleaned up a little bit. The sound quality is still pretty rough but is much clearer than the previously released version. Turns out this show was supposed to be in St. Louis but got moved to nearby St. Charles, MO to a club called the The Factory on May 27. They play the same set as the NYC shows, but ends abruptly. Apparently, Iggy clocked Ron in the head with the mic and knocked him out. You can hear Ron’s guitar hit the ground as the band grinds to a halt. The crowd yells for more but the show’s over. Iggy later went outside and hung out with the fans apologizing for the short gig. This was the last night of the tour and the last this line up ever played together. The band broke up, Iggy met Bowie in New York and went to England with James to start a new band, but later asked Ron and Scott to join them. That’s the beginning of the band being known as Iggy And The Stooges.
Disc 4 of this set actually first night of the tour from April 13 in their hometown of Detroit. The sound quality of this show is probably the harshest but the performance is good. At one point you can hear someone in the crowd say “Detroit sucks!” As a bonus, there are 2 songs from a show in July 1971 that Ron, Scott and Jimmy played without Iggy or James. One of the songs was called “Ron’s Jam” on a previous bootleg and that’s exactly what it is. Ron leads a power trio jam with tons of wah wah and attitude. It’s interesting to note that Ron played a Gibson Les Paul rather than a Fender Stratocaster like he did on the first 2 albums. The sound is a bit fuller and suits the material well. Jimmy Recca does his best Iggy impression on a song called “What You Gonna Do.” Who know how the rest of this night went?
With Ron Asheton sadly no longer with us, James Williamson has rejoined the Stooges, having settled his long-standing beef with Iggy years ago.
The revamped Stooges are due to play some shows in November and will be touring in 2010. Both Iggy and James have said that they’ll be focusing on Raw Power material as well as playing some of the first 2 albums and unrecorded gems. Chances are none of these songs except for “I Got A Right” will make the set list, but it would be cool to hear “Fresh Rag” live and insane in 2010.
There are only 1000 of these mothers so if you’re interested you better act fast. The packaging is pretty nice. Lots of great photos of Iggy going berserk and the band blasting through giant stacks of Sunn amps (which are very trendy to collect these days). If you’re scared about the sound, Easy Action has posted sound clips from all 4 discs so you can see if you can handle it.
Yes, we live in an interesting world. Wonder what a visionary like Jules Verne or H.G. Wells would say if they saw the plugged in, fiber optic-linked, satellite-fed world we live in today. Would the visionary of the Fax machine and the submarine be impressed? Would the predictor of alien technology stare gape-mouthed?
A while back, I was asked to write an article on how the internet was influencing new bands and artists. Was the ready access of a history's worth of music a boon to creativity or a bust to commercial overload? Did the internet instigate inspiration or quench it underneath a flood of sub-par product?
That debate can rage on forever, but what can't be denied is that any hardcore trek through the webpages of this world can turn up an unsuspected treasure. Sure, there's a lot of fool's gold out there, but every once in while, when the moon and stars line up just right, you strike gold.
Blah Blah Blah
Digging through the pages of Music Dealers, an online music licensing website, shovel and pick in hand, I turned over a cyber rock and discovered this treat glittering back at me in all it's radiant post-Smith's glory. From Chicago, Blah Blah Blah, meld the best of several phases of the Manchester sound with the forward indy pop sensibility of modern day Chicago. Impeccably lush and skillfully executed, you can find traces of old New Order here, like the keyboard textures underlying "They Don't Dance," or the shoegazing Stone Roses in the guitar crunch of "Why Am I the Only One Laughing." Post-Morrissey lives heartily in the vocal delivery of "After Midnight," while "Kill the Waiter," hearkens to a post Factory-rave, morning after calm down, with it's deeply distorted psychedelia and gentle, wispy vocal.
But don't go thinking that the Blah's are merely the sum of their influences. This multi-cultural band brings their own personality to British post-punk. Laying down the oh-so-essential bass tracks to power the songs forward, guitars layer in delicately, vocals spiral in and around the melodies. Each of the six songs loaded on the player is a shimmering, sugar-crusted chestnut of post-punk pop bliss. And when I say shimmering, I mean these songs positively glisten, 24 karat gold. Light radiates from their delicate compositions without seeming to airy or flimsy. Guitars shine, drums resonate, and vocals float. Truly, a pop confection treat.
Just listen to the aching, longing in Soloman's voice during "Kill the Waiter." This is wistful melancholia the likes of which can transport me to a netherworld of swirling emotion. Absolutely intoxicating. "They Don't Dance," adds a danceable backbeat but keeps the emotional sumptuousness front and center. This is music that just makes you lie back and wonder.
I checked out the band's Myspace page and still can't tell if they have an album out or not, but either way, it'll be well worth watching out for. If your a fan of the Smith's bittersweet melodies, and always wondered what they'd sound like with a touch of golden spirited optimism, or if you wondered what would've come next if The Hacienda hadn't deteriorated into a mire of drugs and guns, this band is for you. Sublime pop for the modern world. www.myspace.com/blahblahblahchicago www.musicdealers.com/artist/blahblahblah
Big Rock Candy Mountain - Hey Kid
Continuing my mining mission through the cyber-desert, my mule, near delirious from the desert heat pulled over in the shade of mountain for rest and water. Little did that poor mule know which mountain she choose. Combining the sinusoidal synthesizer spasms of classic new wave with the angular post-punk guitars of modern post-rock and the musical ambition/schizophrenia of punchy neo-prog, there was no way that poor mule was going to rest in the shade of this mountain. Fuck that, there was no way the shade was even going stay still for long. Propelled by maniacal drumming, shape-shifting song structures, epileptic outbursts of spiky guitar chords or frenzied arpeggios, this whole damn mountain is a pulsating, heaving, jumping, constantly-in-motion dance made physical.
As insane as all that may sound, in the wild and wacky world of Big Rock Candy Mountain it all makes perfect, completely mad sense. Stellar songwriting brings all their disparate elements, chord ideas, song dropouts, and drums blasts together into one coherent whole. It truly is the sum being greater than the parts here. Yes, that seems like a random guitar outburst, or an out-of-left field vocal breakdown, but it all works in its own freakish angular world. Moments that seem like they should be too chaotic to be listenable, fall into place as if a higher deity was positioning pieces on a chessboard. And besides the strength of songwriting, the glue that binds all this together are some of the most gorgeous, memorable, delectably sugary melodies I've heard in ages; the type that could induce a coma in most diabetics.
References are too many to mention, but to me, I'm reminded of the brain-melting post punk of Wire or Pere Ubu, bands that weren't afraid to take punk structure and fuck with it, twist it inside out, rip out it's innards and replace it with some damn fine funk or whatever moved them at that moment. Big Rock Candy Mountain takes snippets of Joy Division brooding, toss it into a blender with a strong dose of Mars Volta randomness, and the out-of-left-field approach of the Flaming Lips, and the amped up beat of Daft Punk, and turn out one juicy, positively jumpy concoction. Guitar heavy choruses are catchy, the vocals are soulfully sincere, and the bass and drums make the whole thing danceable for the quirky, epileptics who like to seize on the dancefloor.
Not an album you can digest in one sitting or 100. Something new, surprising, and stunning, leaps out of every random corner with each listen. A new counter melody, a new guitar run. Wait, did you hear what the bass just did? How'd they do that? I don't know if this is the work of absolutely brilliant minds or completely demented ones, but either way, it's genius. If this was a virus it'd be catchier than H1N1. To which I can only say, "avoid the vaccine. Contract the illness." It's much more fun.
Mighty High - Drops a Deuce - Cable TV Eye b/w Hands Up! (live n nasty)
There's no doubt about it. Mighty High really is Brooklyn's most "regressive rock act." Draped by some of the most mind-blowing R. Crumb style artwork imaginable (courtesy of Wayne Braino Bjerke) Mighty High really do drop a deuce onto an unsuspecting, slightly horrified public with this amplified, hellified, fuzzified blitzkrieg of raving retro, primal, bone marrow rock and roll. Just imagine someone driving a big old rusty drill bit right through the brain of MC5 into the skull of Black Flag, then dripping some Grand Funk Railroad into the gaping hole left behind. Stick your finger in the goo and that's Mighty High in all their flaming/smokin' glory.
With the High boys, it's all about the riff and the groove, in the punkest use of the terms. And it's all here, laid out on display like some plastic bags of hash on the counter of a head shop in Amsterdam. "Cable TV Eye," is a worthy follow-up to the freak out of stoner punk fuzz that was the Mighty High debut album, and if anything "Hands Up," builds upon this manic energy. Retro, regressive, whatever, this is pure adrenaline punk and stoner roll and it's a flaming blunt full of fun. Together, we get two slabs of basal, Spicoli, get-outta-my-way-I-need-to-get-stoned delinquency. Music to scare mothers of small babies. Music to scare parole officers. Music for hydro-hoofin'.
With it's marbled blue vinyl 7" and stare-at-it-for-hours cover, this is the complete package. Yep, Mighty High has delivered once again. This isn't rocket science, it's rock and roll. Don't even think about it, just buy it.
Blane Fonda - Opportunity Rocks b/w Salacious Love
Not really a 7" single per se (but could be!) rather this review is of a couple of mp3's the band sent my way over a period of time. "Opportunity Rocks," introduces Chicago's Blane Fonda and their energized, synthesized, fully-glammed out modern power pop. So many names run through my head in thinking about their sound, but in the end, that's all crap. It doesn't matter who they listened to, all that matters is what I'm hearing right now, and it's a stadium full of propulsive hooks, melodies and choruses. It's a distillation of every glam punk/pop band that had genesis in the eighties, wormholed through a time warp continum to the new millenium. "Opportunity Knocks," features some raving guitars, huge bass lines, monstrous melodies and some of the most elastic vocals I've ever heard. Deep and thoughtful, soaring and uplifting, wicked and psychotic, all from one set of vocal chords. Big symphonic synths, cybals crashing like hail on a tin roof. It's all here, and it's all perfect.
But in truth, it wasn't until "Salacious Love," crossed my computer that I knew I had to write about these guys. Bringing back the best of the New Romantic Glam movement, "Salacious Love," is nothing but esquisite. Beginning with a very Supertramp-ish keyboard intro, and a deep and emotive vocal, the bass bubbles underneath, immediately elevating this song to the now. The instant. An amazingly sensuous melody percolates to the surface, another huge, soaring chorus falls into place. Everything builds, slowly, evenly to a climax of spiky guitar and sythns. Then, like any good moment of sex, immediately the song falls back to a slower, more deliberate pace, only to build once again; steadily, unflinchingly. For a post-punk junkie like me, this song is one long aural orgasm.
With a pedigree that lists members from some of the leading bands of the New York Hardcore scene (Kid Dynamite, Lifetime, Grey Area, Warzone, The Arsons and Token Entry), I think any waverider could be forgiven for expecting Higher Giant to sound like a agglomeration of all the New York Hardcore that has come before them. Truth be told, you couldn't be more mistaken. Despite a super-group lineage, or maybe because of it, Higher Giant sound nothing like what would be expected of them. This isn't hardcore. Sure there are moments of frantic, monster-drink pumped up energy and crashing guitars, but it ain't hardcore. In fact, it's hardly punk. Sure there's a snotty-edged tone to the vocals (vaguely reminiscent of bands like The Planet Smashers) and a better-than-emo quality to the songs, but it ain't punk. Not in the traditional sense of the word anyways. So then what is it?
Higher Giant sounds like the next evolution of punk. Once you break out of the hardcore scene, but still want some speed and punch to your music, but get nauseated by the emo-crap out there, there's Higher Giant. These cats break out with a 4-song 7" single filled with raving hooks, big choruses, spikey guitars, steamrolling drums, and a large dose of manic energy; never forgetting their hardcore roots, but transforming that sound with clean vocals and a hefty bag of songwriting chops to create a powerful road all their own. Pop hardcore? No. Thrash pop? Maybe. Don't know what to call it, so dispense with labels and just listen to the charging guitars and melody of "See You Later, Chopstick." Chugging guitars keep the energy flowing but in a bouncy, bopping fashion not a bludgeoning. Nice guitar work slices through the mix, showing these cats know their instruments and aren't afraid of progging up their tunes. "Bad Investment," kicks off with a dynamite swing-tom drum line before wrapping itself in a delicious melody and chiming guitar. Again, the band's not afraid to play with dynamics, dropping out the sound, kicking in a big drum, squeezing in a disharmonic bridge, before finding a groove just not found in hardcore. "Just Go," is actually a pop confection dressed up in hyper-energy and attitude, avoiding all the pitfalls of emo. "Union Square," is just a stone cold rock/punk get-off. Punchy and brimming with piss.
Completely accessible yet at the same time not a put off to the punk crowd. Higher Giant have found the right mix.
Apparently there's a new scene developing in England, South London to be specific, New Cross to be dead on. Emerging from the labyrinth of underground punk, rock, and glam clubs, "basement rock," has been bandied about to describe the guitar heavy, punky attitude, garage-y rock sound of these bands that eschew normal commercial channels and make their name by playing the squat or underground circuit. Fusing big, big guitars, with heaps of glam and a fashion sense of a mutated 1920's flapper, The Kut are one of the main bands to break out of this scene and head towards US shores.
And based on this debut double- A single, "Doesn't Matter Anyway b/w Closure," its not hard to see why. Ignore the fact that this is an all girl trio for a moment. Ignore the fact that they have a killer look, completely natural yet massively marketable. Ignore the fact that they got tons of underground cred, and what you have left over is a freaking dynamite burst of punchy, poppy, raise-your-hands-in-the-air, dancefloor-filling indy punk/garage/glam amalgamation. "Doesn't Matter Anyway," rides a choppy guitar riff from verse to chorus over rolling bass lines and solid drumming to deliver a gem of female alt-rock as tasty as anything put out there since the Go-Go's. This is a hummable, danceable, singable, pogo-able, head bop-able, slab of prime indy pop. Great hooks, great chops. Beautiful, nuanced, emotive vocals without being whiny or snotty. It's all there, and it's about as damn near perfect as you'll find.
Then, as loose and choppy as "Doesn't Matter Anyway," was "Closure," shows immediately that these girls aren't one-trick ponies. Trading the alt-punk roots for a deeper, denser vibe, "Closure," flows out like some female Cure. Elvira's deep plowing bass lines lead to the big crunch of the chorus, highlighted by some tasty drum fills by Jade. Listen to the guitar tone here, it's ear-grabbing, and makes it no surprise that frontwoman Maha just signed an endorsement deal with Marshall.
Yeah, just go ahead and forget anything that sound like hype or gimmick about this band. I friggin' love these girls. Rock hasn't been this much fun in ages. --Racer
I’m not exactly sure what I was expecting when I dug this disc out of the pile of submissions that’s seemingly growing by its own volition next to my desk. I vaguely remember seeing the cover of this Dala album as I popped the disc from its housing, and knowing my mindset, I’m almost certain that I was filing this one into some sort of inspirational ambient trance vocal category. Well, it is a vocal thing, and definitely has some inspirational aspects to it, but I never expected Everyone Is Someone to have the effect on me that it did. I mean, there were times during my initial listen of this disc that I simply had to stop, look up from the paperwork or internet maintenance that I was doing, and voice to no one in particular that the song in rotation was absolutely beautiful. I fear the day someone installs a hidden camera in my office. I’m sure I’d look like someone who needs to be committed . . . talking to myself . . . looking around as if I’m expecting someone to answer. Ah, the lonely life of a music reviewer.
All kidding aside, Everyone Is Someone is a spectacular, beautiful, and emotional collection of songs that I’m guessing may fit well with singer / songwriters such as Sarah McLachlan. I say, “I guess,” because I’ve never really listened to McLachlan, though her song “I Will Remember You” haunts me with its emotion every time I hear it, much like every song on Everyone Is Someone has been doing for the past week or so. Emotional. Y’know, that word pretty much sums up the entire mood to this album. It’s well defined and touches the nerves like no music that I’ve ever heard. For me, well . . . I found myself tooling around town, reflecting on loves lost, choices not made, and journeys to be traveled. And through it all, I felt the emotions welling up to the point that I suddenly felt sad. Not the doom and gloom, oh-my-life-is-so-awful kind of sadness, but more of that I’m-lonely-but-empowered kind of sadness. Big on vocal melody and staggering with those same harmonies, Amanda Walther and Sheila Carabine brought me to my knees with their roots-y, folk-y take on pop music.
“Lonely Girl” opens the disc with airy vocals over some ambient backgrounds, but then the acoustic guitars rise out of the mix and the two women harmonize all over the place. Heartfelt and well phrased lyrics paint a great picture of the various characters getting by, but man . . . the chorus shatters the senses. The way the two voices dance around each other is mindboggling and more moving than any music that I can remember hearing. Ever. I can’t remember the last time that I sat back, listened to a song, and felt, with such a strong sensitivity, the emotions welling up within me. While listening to this song, a part of me wants to cry while another part wants to wage war against every man who has treated anyone with disrespect. Myself included. As the song winds down, I can easily see myself holding my beloved glass of bourbon in a darkened room, contemplating the wrongs I’ve committed. “Lonely Girl” just broke me down to my core being. What a moving song . . . more please!
Well, all of Everyone Is Someone has that affect in one way or another, but tracks like “Crushed” and “Stand In Awe” carry a similar weight as “Lonely Girl.” Both tracks are equally moody, melodic, and addictive. If you can’t feel something from these songs then you’re just dead inside. The single voice is powerful, as it sings through the verses, but when the second voice comes in, the emotion can be overwhelming. I’m wracking my brain to recall ever hearing anything quite this heavy. I’m not talking heavy metal heavy, I’m talking so emotionally charged that it feels like a twenty pound cat sleeping on your chest. I’m talking about the pressure one might feel while deep sea diving or of being at the bottom of a dog pile. Yeah . . . that kind of heavy!
For a little levity, Dala kick out the first single with “Levi Blues.” The song must have been included in a television show or movie recently because I had a feeling a familiarity right off the bat. Great fun lyrics, memorable, catchy . . . c’mon, give me another adjective! Upbeat and light hearted, I can’t help but dance in my chair, sing a line or two, maybe even crack a smile. It’s the type of song that will stick with you throughout the day. Saccharine sweet melodies drive this song, and odds are that even after a full day of not hearing this song that you’ll be able to pull it from your memory banks and hum it in its entirety. But, as fun a song as this is, and as good a song as this is, I keep going back to the more melancholy tracks coz’ I’m a sucker for the heartache.
“Northern Lights,” “Face In The Morning,” and “Horses” are all fantastic tunes that will have you staring out your window on a rainy day, reminiscing on days of young love or contemplating the path you’re gonna’ be walking. “Horses” is a crusher. I have to do the wide eyed man stare in fear of shedding too many tears as this one hits just a little too close to home. And it’s not just the lyrical content, but the way these two fabulously talented women convey the emotion with their voices. Again, those harmonies have the power to tear down walls and knock down skyscrapers. Aw hell . . . I’m welling up as I type this . . . I gotta’ wrap this thing up.
Okay. Maybe that was a little melodramatic, but I think it helps get the point across. Wow! It’s a moving frickin’ album that must be experienced to be believed! Everyone Is Someone has rocketed to the top of my all time favorites list on the strength of emotion alone. The songs are out of this world, the subject matter is poignant, the performances . . . a step away from Heaven. I tried to explain to Racer that the music is so powerful that, while listening to it, it’s like some sort of chemical reaction is taking place in the body that separates the raw sensitivities from our emotions and brings them right to the surface for maximum exposure, emotions that are suddenly exposed to all of this pain and pleasure and sadness and joy, just being barraged and absorbing the experiences that life has to offer. Wonderfully exhilarating!
Recorded on a simple 8 track recorder, the Killing Lazarus self titled mini epic thrilled the Ripple offices with its multi-faceted themes and emotions. It may have toiled in the pile of submissions for longer than I would have liked, but it ultimately struck such a chord with us that we had to pursue the masterminds behind the music. So, this week, we got the opportunity to sit with the lads of Ireland's best kept secret to find out what makes the music of Killing Lazarus so damn compelling, as well as to what they have cooking for the near future.
When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, Johnny Mathis, Perry Como, and Simon & Garfunkel, the first time I ever hear 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?
There’s so much good music out there that you could have a musical epiphany every week. Playing as a band is like having an epiphany all the time. Especially when we play something new and we all enjoy it and add our own twist. Also when each one of us puts something new into the music the light bulb appears. There have been too many musical moments in life to single out any one particular moment as every epiphany is as relevant and important as the next.
Genres are so misleading and such a way to pigeonhole bands. Without resorting to labels, how would you describe your music?
We seem to have fallen into the prog rock category which wasn’t really our intention but there is definitely some in there, other styles I would say are stoner rock, dark folk and I think maybe even a hint of post rock. We each like different types of music so it’s hard to get a basic genre sound together. For us we would have to describe it as mood music, the music takes on a life of its own and so individually the songs form into an element of their own , like different moods at different times With that in mind our songs cross a couple of different genres so we just like to call it Mood Rock. It’s entirely up the person to come to terms with what they are listening too and if they wish to label the music, off they go. But the important thing is that once the music strikes a chord and gets some emotion at some point, well that’s the job done, So Emotion digger music LoL.
How did you approach the writing and recording of the Killing Lazarus self titled album? Is there anything that you would do different on the follow up?
What we have so far is only a demonstration of what we can do and in the future we would like to re-record everything we’ve done so far in a studio, for better sound quality, content and deliverance. We didn’t really have a specific idea about writing songs, what we did, we enjoyed and other people liked it, which is an added bonus. Our approach is simple, have an open mind and enjoy the ride. Given the interest we have in the band and the interest that people seem to have about us now, we thought we would take it a step further and put the music out there, also for the follow up recording we would definitely book a studio with a producer so we could enhance the songs more.
What’s the musical climate like in Ireland these days? Does the population expect every band to come out sounding like U2?
The music scene over here is pretty good and there is some absolutely amazing music in Ireland at the moment, but you have to dig deep to find it, we get a lot of good bands on the move and a lot of good gigs to pick and choose from. It’s a shame that Ireland is so small due to the fact that bands can’t get off the ground. Also the thing over here is getting your music heard as we’ve only got one semi decent radio station, but the web is a big help in getting music to the masses. People just get used to listening to a type of music and it’s very difficult to break that habit. So in essence people would love to hear U2 rip offs so they don’t have to dig very far to get what they want. But there is nothing new or delivering in that.
In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?
We’ll talk through ideas we might have and try and figure out the structure for the track, I guess the rest just comes from the vibe. The vibe and feel of songs dictate to us how they should be played, the song is already there all you have to do is find it, if you try too hard to feel the song it will show and will feel strained. It’s also got a lot do with the moment you’re in, Sometimes it’s easier to go along with the rhythm and other times you feel it should take a different direction.
Describe to us the ideal (realistic) record label and how you'd work with them, and they with you.
That’s a tough one…… Our own, because we would get everything we want, only joking. Ideally to work with a label that had a wide range of artists on board so as we wouldn’t be getting tied in with one particular genre, A record label that would treat the bands with respect and dignity. We’d work well in the way of getting things done; we’re pretty opening minded and enthusiastic. A label to give space and time when its required and to understand that creation wasn’t made in a day, Legally bound but liberal at the same time too, we would like to own the band and our music and not have some bank own our music. So we would be able to enjoy the music for years to come and what more would you want? But to be honest record labels nowadays don’t seem to be doing as much for the artist’s as in the past and the “go it alone” approach for the time being is more realistic to us .
For you, what makes a great song? What do you look for in a song to get you going?
It’s all about heart, if that’s not in it then, what’s the point! It can be a slow song or a fast song and all the in between, but if it doesn’t have heart it’s going to be lacking! And plain and simple enjoyment, the songs can be simple or technical, it doesn’t matter! If it feels good and strikes a chord, then hopefully other people will feel the same.
What piece of your music are you particularly proud of?
Geminate, together with the spin backs and the way the samples came together in the end , It just brings the listener on a musical journey with the samples from Network being very relevant to what’s going on in this fucked up world today. Although all the songs we have, are our proud moments. It’s to be able to listen and enjoy what you have created even if no one else enjoys it, we do.
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?
We have a lot of plans for the future, gigs coming up, recording in the studio, setting up our own website, where our fans will be able to buy our material as well as t-shirt’s and merchandise. It would be great to get a record deal and tour the world but in this day and age you have to be realistic. If we can make a living out of playing music for the rest of our lives’ then that’s the dream right there. We can only hope that our plans come to reality. We will deal with whatever is thrown at us, but for now we’re ticking the boxes and setting up shop, Motivation is easy, if you enjoy it, do it.
Vinyl, CD, or digital? What's your format of choice?
All formats that play music have their own little perks, but for us there is no other way to enjoy music other than live.
We, at The Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to visit?
If you’re looking for rock and metal then sound cellar is the best bet. If you’re looking for alternative and independent Irish music or just want to know what’s going on in the world of music Julie and Dave at Road Records will always be happy to help. If that doesn’t work out come out to one of our houses and we will let you go through our music collections, you will find a lot of better music there than most music stores in Ireland.
One of the things we like best about being part of this biz, is when we realize that a lot of the artists we love, are actually just real people. People who care about others. Work hard to help each other. That's certainly the case here.
Dozens of musicians will perform a benefit concert Sunday November 8 at the Echoplex in Echo Park for fellow musician Laura Ann Masura. Masura, a former member of Evil Beaver, Motorhome, the Prescriptions and Dime Box Band, suffered a motorcycle accident in September that almost resulted in the amputation of her foot. As she heals at her Echo Park home, friends and fellow musicians have banded together to raise money for costs that Masura’s health insurance doesn’t cover.
Josiah Mazzaschi of the band Light FM has organized an impressive line up for the concert, which starts at 5 PM and costs a mere $12 per ticket. (ALL proceeds go to Laura Ann. The Echoplex’s Liz Garo has generously donated use of the venue.) To appear: The Happy Stars (Brian Young from Fountains of Wayne and Joe Skyward from The Posies), The Pulsars (Dave and Harry Trumfio), Tim Rutili (Red Red Meat, Califone), Syd Straw (Golden Palominos) Pity Party, Light FM, and The Backward Clock Society, featuring Billy Corgan of the Smashing Pumpkins, Kerry Brown of Ancient Chinese Secrets and Mark Tulin of the Electric Prunes. Rotary Rachel (Rachel Lichtman of luxuriamusic.com) will emcee and DJ between band sets.
JAM FOR LAURA ANN is more than a concert. There will be items raffled all evening long; a fortune teller (none other than Madame Pamita from cult all-girl surf band the Neptunas); and a BBQ in back of the venue. Jars of Laura Ann’s Jams, made artisanally by Laura Ann this past summer, will be for sale. (In fact Laura Ann was on her motorcycle, en route to a farm for strawberries for the jams, when a car hit her.)
Leading up to the November 8 event, two very special items from the early days of the Smashing Pumpkins will be auctioned off starting this Wednesday without reserve via Ebay to help defray Laura’s medical bills from her accident. The first item up for auction is the drum kit that Jimmy Chamberlin used on the Smashing Pumpkins’ influential and platinum Gish album in 1991 and subsequent tour. The kit will be signed by both Jimmy and Billy. Billy will also be auctioning off the original Smashing Pumpkins bass guitar that he played at the band’s very first show (it is also the bass that he used for the early demos). Both items will be available for bidding via the official Smashing Pumpkins memorabilia ebay site:
Despite surgery scheduled for October 29th, Laura Ann will attend the benefit show—“Even if we have to wheel a bed in!” she says. People unable to attend the event may donate to Laura Ann’s recovery fund (no amount too small!) at lauraannsjams.com
PLEASE NOTE: JAM FOR LAURA ANN IS AN EARLY SHOW!
Sunday, November 8th Doors: 4:30 Showtime 5:00 Tickets: $12 purchase in advance: http://www.ticketweb.com The Echoplex, 1154 Glendale Blvd. Los Angeles, CA, 90026
It doesn't take more than one second of this dynamite new release by retro-seventies rockers, Kamchatka, before you feel it. Listen to that low rumble of bass approaching, thudding towards you like an approaching seismic event. Feel it carrying something heavy in it's momentum. Something ominous.
Something groovy.
When the words "retro-seventies" rock are bandied about, it's usually followed by the term "stoner." Don't make that mistake with these guys. This isn't stoner rock, or psychedelic, or acid rock for that matter. This is simply an outrageous guitar-heavy, ultra-groovy eruption of heavy rock. Emphasis on the word groovy. Also, don't make the mistake of letting the three-piece alignment fool you into thinking their sound is limited. I've seen Kamchatka referred to as a power trio, but this does nothing to capture the sound of the band. Sure there are three of them and sure their music is laced with power, but this ain't no Rush we're hearing. Or Budgie, Motorhead, Triumph, or even Grand Funk Railroad. "Power trio" does nothing to capture the cosmic waves of psychedelic exploration these cats bring, or the out-of-the-blue jazz passages, or the intense rumble of the blues based, massively distorted riffs, or the endless fertile pastures of jam rocking.
No, power trio doesn't work. Stoner rock doesn't work. We need another label, a whole new vernacular to describe this band. A new language that incorporates everything these mind-friers bring to the table.
For now, we'll just call it Kamchatka rock.
So what exactly is Kamchatka? Well, for starters they took their name from the volcanically active Russian Kamchatka Peninsula that divides the Okhotsk and the Bering Sea, and that's as good a place to start as any. That God-forsaken stretch of land, barren and whipped by terrible seas, is home to about 160 volcanoes. If you were to go there, your face would be buffeted with the force of the wind, your soul would stir from the stark beauty, and the ground would rumble under your feet from the power of the thermonuclear energy beneath you.
That's Kamchatka.
I'm not just tossing around hyperbole here. These cats take the basis of seventies rock and simply put it through there own thermonuclear blues reactor and watch it bubble to the top in an overflow of molten rock. When they lay down a riff, it's like bedrock foundation, steadfast in its intensity and searing with it's heat. Take that riff and sprinkle across it the delicate touch of jazz, prog exploration and some freaking mind-bending extended jamming and we're getting closer to describing their sound.
"681" starts us off with that previously mentioned rumble of Roger Ojersson's bass, laying down the inherent groove that flows through this album like a vein of hot magma. By the time the guitar sears in, the song simply erupts in molten seventies rock splendor. Thomas Andersson has an amazingly warm voice, laced with a belly-full of soul, and a tone to his guitar that's as incendiary as flaming ash. There's no other way to say it, this song just simply grooves, familiar in all the right ways, yet totally it's own creation. Two minutes and forty-nine seconds will never pass so fast as when you're rocking out to this treat.
"Pathetic," erupts next, riding on the explosive thunder of Tobias Strandvik's drums. The riff is as threatening and powerful as the colliding of Teutonic plates. You've not heard this riff before, it's totally new, like the earth being created out of the lava flow. It's mean and nasty, just as the lyrics describing a love relationship turned angry and spiteful. Yet, despite that intensity, or maybe because of it, the chorus break comes across as a beautiful break from the darkness, like a sliver of sunlight slicing through the volcanic cloud. Midway through, the song simply plows through as metal a section as you'll find on any stoner rock album, before disintegrating right before your eyes, into a stunning, mesmerizing passage of near-pastoral prog/jazz rock. The transition is seamless and breathtaking. Instantly, your grip on the nastiness that preceded evaporates and you leave the gravitational field of this planet, soaring high above the steam and destruction below. But don't worry, before you know it, the riff rages back, full of all the bitterness of a scorched heart. Amazing stuff, I know my Ripple brethren the Pope will freak over this one!
"Astrobuck," lives up to it's name, launching off with a rolling, muscular stoner-esque riff, before breaking down to a quieter vocal passage. Ojersson, who shares songwriting and singing credits, shines here, his bass pummeling the song like a barrage of expulsed basalt lava. When I say this riff rumbles, I mean it rumbles seismically. It registers on the Richter scale.
Then, just when you think you've got the terrain surveyed, the boys shift the landscape with the full out prog excursion of "Look Over Your Shoulder." But don't let that "prog" term scare you, this isn't endless arctic noodling, this song possesses an amazing warmth and delicacy. Acoustic strummed guitars hinting at a fragile beauty underneath Andersson's voice. Slowly the organ fills in from underneath, impeccable jazz drumming tripping across the snare and cymbal like a Pacific rain. Slowly, the song builds in intensity, like the accumulation of siliceous magma, kinetic energy accumulating just under the surface. Don't miss the organ freakout 3 minutes in. They just don't write em like that anymore.
All that energy stored during the last song reaches it's boiling point with "See," riding across as low and thudding a bass tone as you're likely to hear. Melted into their "stoner" riff madness is a definite jazz feel. It's there, in the textures of the organ, the composition of the verses, the smoothness of the chorus. How many times have you ever called a riff-fest stoner cavalcade beautiful? Well, here it is. Stay seated while the song fades away, breaking down to a soulful excursion in guitar-based jamming. How gut wrenching is that solo? Dripping with emotion. Then, when the riff roars back, . . . oh mother. Nicely done.
No doubt about it, this album, will be in my 2009 year end Best of List. Guaranteed.
Are you getting a picture of these guys yet? If not, how about this. Being one of the most seismically and volcanically active spots in the world, in 1737 a mega thrust earthquake rocked the Kamchatka Peninsula. 9.3 on the Richter Scale, laying waste to the region. That was followed immediately by a series of gentler aftershocks, looser movements of the earth, that rumbled and grooved after the heaviness.
Black Cobra is an extremely heavy duo from San Francisco and they are pissed! Chronomega is their 3rd full length album and first on the Southern Lord label. If you’re new to the band, like me, get ready for an intense assault of down tuned guitar and thrashing drums with aggravated vocals.
Unlike a lot of bands on Southern Lord, Black Cobra is pretty speedy and the songs are usually 4 or 5 minutes. Thankfully, there are no “post-rock” quiet interludes just one bone crushing riff after another. The guitar sound of Jason Landrian is huge and has so much low end that you don’t really miss the bass like in most rock duos. The album was recorded by Billy Anderson, who’s also worked with The Melvins, Sleep, High On Fire and Neurosis among many others. He knows a few things about getting massively heavy guitar tones. Rafael Martinez’s drums have plenty of room in the mix to show off his constant barrage of fills and crashes. Jason Landrian also handles the vocals and he sounds like an angrier version Tesco Vee of the Meatmen.
The opener “Negative Reversal” tells you everything you need to know about this band. Loud, fierce and uncompromising. The title track is another highlight with a rhythm that’s reminiscent of Accept’s “Restless and Wild” while “Storm Shadow” is like a longer version of “We Bite” by The Misfits. A few songs have slower parts, but Black Cobra stick to mainly uptempo jams, which helps separate them from the usual snail’s pace of doom metal.
Eagle Twin, on the other hand, like their jams long, creepy and noisy. Another heavy duo comprised of Gentry Densley (ex Iceburn and ascend) on baritone guitar and tortured vocals and Tyler Smith on the drums. They describe their sound as “amps on fire” and that’s exactly what they sound like.
About half the album is comprised of 6 minute songs and the other half is longer songs. The whole thing sounds like early Melvins but recorded in hell. The vocals are deep, tortured and, well, hellish. There’s no other way to describe it. Maybe like Tom Waits sitting in with Hellhammer. The guitar is tuned low and played through a mountain of amps and the drums sound like 1000 of Satan’s slaves rowing against the tide of the river Styx.
My suggestion would be to pick both of these up and play them mixed together for maximum negative impact. Black Cobra are for when you’re hyper and pissed off and Eagle Twin take care of all your slow boil needs.
Who in the heck is Steve McLeod? At least, that’s what I’m assuming most of you are asking yourselves. I know. I asked the same thing when this disc slid across my desk. In fact, even after running through this brilliantly realized musical opus, I’m still asking that question. Who the heck is Steve McLeod? Well, there’s no simple answer to that one, Waveriders, but there is one word that comes to mind to help define the man based on the strength of his album, Human Uniform. That word is genius. Yes. It’s a big and bold word, one that is bandied about far too frequently in the music world. A word that, in some respects, has lost some of its power due to this frivolous use, but one I shall use anyway. For, really, there is no word that endears itself to me quite like this word. Genius.
Steve McLeod, for all intents and purposes, writes and performs a funkified R&B style of song with a curious amount of pop rock, but that alone doesn’t elevate the music or the man to genius. That all occurs when the man takes the standard structure of a song and infuses it with musical elements, compositional twists and turns, that makes the music suddenly sound unique. These dynamic shifts and unforeseen sonic adventures add a new wrinkle to a style of music that has relied on pure passion and soul since its inception. McLeod approaches R&B from a world all unto his own, and I can do nothing but heap tons of praise upon his work. Me? Gushing? Shit yeah! R&B can get downright boring, no matter how much soul power is pumped into the stuff. Over the years, the compositions have become tired and the themes all about the heart, blah, blah, blah. Steve McLeod’s approach is different. Yes, there are the straight up R&B styled tunes on Human Uniform, but there are a handful of dandies here where he attends the party in an outfit that damn near clashes with those already in attendance. The colors of his pimp suit in clear defiance to the black tie requirement.
“Push the Pedal” acts as the perfect album opener as it’s packed with funk rockin’ R&B and a groove that gets the hips shaking regardless of where you’re listening. In your office chair? Hell yeah! In your car? Hell yeah! In a church pew? He, er . . . heck yeah! With a voice somewhat reminiscent of Lenny Kravitz, McLeod lays down a vocal tone that immediately grabs the attention. There’s a sexual vibrancy percolating away in there, and as it layers over the musical tracks, every little piece falls into place. Fuzzed out guitar tones on top of an off timed beat and a staggering bass groove make the first verse sound like some bizarre jazz fusion piece. But then, it all comes together for the chorus and this sucker drives straight through the heart. “Push the Pedal” has such a unique sound, combining that 70’s jazz fusion thing with elements of rock n’ roll and that soulful R&B sound. This is just a shadow of McLeod’s genius. “Winter Love” drifts out of the speakers with a funked out and meandering bass line before we’re treated to a distorted guitar strumming out a melodic riff. The tune suddenly soars with an uplifting chorus that would fit well amongst any of the pop rock acts that are flitting around the scene, but what caught my ear was the breakdown near the 3:00 mark and the subsequent guitar solo. Where the hell did that come from? There’s the genius that I’m talking about. What was a good song on its own suddenly became a hundred times more interesting with the addition of a well timed break. Give me a quality product and then add something unexpected, well . . . ha! You’ve got a customer for life!
Alright. Now here’s where things get super interesting.
“Unknown Afternoon” is a stunningly beautiful, summertime shiny, Hawaiian sounding piece of brilliance that requires a pair of sunglasses to listen to. So soulful and so much damn fun, McLeod nails the good time vibes with this tune. I defy you to listen to this track and not smile, bop along for the ride, or even clap your hands with the rhythm. The lyrical phrasing is compelling as we listen to Steve sing about having his guitar and his girl having her dreams. There’s a fusion of hip hop style vocalization mixed in the background with the subtle strumming of an acoustic guitar in a pattern similar to one found in the South Pacific. Much like “Push the Pedal,” this is a song that I can’t get enough of, and one that seems to get better with each listen. Okay . . . now I’m snapping my fingers with the beat. Great track!
“Sounds.Like.Adam.Versus.Eve.” is a sultry R&B burner with its mid 70’s Daryl Hall & John Oates rock n’ soul mixed with that toe curling orgasmic vocal power of Corey Glover. Steve McLeod captures that passion and emotion of R&B so dead on with this track, yet he keeps the music forever interesting with great, understated use of power within the guitar production. This is one of those steamy, sexually charged numbers that, with a bottle of wine, a lazy fire in the fireplace, and dimmed lights will ultimately lead to arched backs, eyes rolling in the back of the head, and finally, a heap of sweat drenched and exhausted lovers. Hot, hot, hot! Nothing more need be said about this song. It’s perfect. Except that it eventually has to end.
Human Uniform is a fantastic listen as it touches on so many different musical styles while remaining rooted in the soulful sounds of R&B. Steve McLeod planted a proprietary flag into the middle of my ear drums, claiming them in his name. Throughout the album, McLeod’s voice is sultry smooth and reminds me of every Wednesday night as I tip back a finger or two of bourbon. His compositions, also rooted in the familiar, invariably shoot off in a different direction than expected, and that’s what draws me to this recording. I’m tired of tired music, and thankfully, Steve McLeod approaches his craft from a fresh perspective. I want to meet this guy face to face, shake his hand, maybe dare a hug, and thank him for giving my ears, giving my soul something to while away my imagination. Oh, and to reiterate this man’s genius factor, how about I throw in that he wrote every song, played every instrument, and recorded every note himself. No partners in this project. Just him. One word for you Waveriders. Genius.
Another nifty little Ripple tidbit here. Ray Davies, the legendary lead singer of the Kinks, long one of our favorite bands, has a new project coming to disc soon.
The Kings Choral Collection presents new versions of classics such as "You Really Got Me", "All Day And All Of The Night", "Waterloo Sunset" and many more, all featuring the 65 member Crouch End Festival Chorus.
Choral Kinks. How cool is that?
Produced by Davies himself and with uplifting, sometimes epic, choral arrangements by David Temple, Steve Markwick and Davies - The Kinks Choral Collection features a six-song suite from the 1968 album The Kinks Are The Village Green Preservation Society, widely regarded as The Kinks' masterpiece.
Often referred to as "almost indisputably rock's most literate, witty and insightful songwriter," Davies had the ambitious idea to collaborate with the 65-strong Crouch End Festival Chorus at the 2007 BBC Electric Proms in London to create The Kinks Choral Collection.
Ray said of his Crouch End vocal colleagues; "With a song like 'Waterloo Sunset', I feel as if the people I wrote it for are singing it." Hearing 'See My Friends' recast as an acappella gospel hymn is instantly striking, hugely magnifying the impact of Ray's life-after-death lyrics. Overall this album offers much to explore and admire from fans who own the entire Kinks catalogue on vinyl or to complete newcomers.
And if you've never had the chance to hear a whole choir accompanying Ray Davies as he goes through Kinks standards like "You Really Got Me" or "All Day and All of the Night," then you have a special treat coming.
TRACK LISTING: 1. Days 2. Waterloo Sunset 3. You Really Got Me 4. Victoria 5. See My Friends 6. Celluloid Heroes 7. Shangri-La 8. Working Man's Café
Tracks 9-14 Village Green Medley: 9. Village Green 10. Picture Book 11. Big Sky 12. Do You Remember Walter? 13. Johnny Thunder 14. Village Green Preservation Society 15. All Day and All Of The Night
Anyone who, like myself, fell under that absolutely brutal spell that was the Gothic industrial masterpiece of Sehnsucht knows what I'm talking about. I first heard that album at a listening station at the now defunct Tower Records. It didn't take more than a minute of the opening title track and a few seconds of the following track "Engel" to know that I was hooked. Like a junkie in desperate need of a fix, Rammstein raced through my veins like an I.V. infusion. Sehnsucht was every thing I needed at that time in my life. Pulverizingly brutal, with some of the best riffs ever recorded on a industrial metal album ("Du Hast"), ramrodded through a punishing production that brought out the ultra-metallic sound of the guitars, married to Gothic overtones, snippets of operatic vocals, and the whole thing wed to a back beat and bass that could keep the strobe lights flashing on the dance floor. Throw in the guttural German vocals and lyrics that spoke to unknown disasters that I couldn't understand, and I was transfixed. White matter-meltingly brutal and grooving at the same time. Jesus. Line me up. Tie on the tourniquet, find a vein and inject me full. It was the album I'd been waiting for.
For about 2 years, that album became my signature war cry. Playing center defense on a competitive soccer team, hours before each game you knew where you could find me. In my beat up pick-up truck, terrorizing my speakers with Sehnsucht at full volume. My head whipping into a frenzy with the mania of the guitar crunch, my neck whipping like an uncoiled spring in time to the industrial drums. To play at my best, I needed to be mean; angry; pissed-off and ready to do battle. I pitied the poor fool who tried to rush the ball through the center of my field after my Rammstein pre-game ritual. Blood was spilled. Bones shattered. Red cards flew.
But let's be honest. As much as I ingested Sehnsucht, the follow-up albums have been a mixed bag. Not that Mutter, or Reise, Reise, or Rosenrot were bad albums, they were just . . . lacking. They didn't have that special X-factor that Sehnsucht had. The brutality married to the beat. The crushing blows to the midsection married to the loving kiss upon the lips. I bought em, I still own em, but I don't listen to em. When I want to hear Rammstein, I'd always go back to Sehnsucht.
Now, I have another album to play. Simply put, Leibe Ist Fur Alle Da, is the rightful heir apparent to Sehnsucht, another epic masterpiece of purely Teutonic, gutturally brutal, yet hauntingly beautiful industrial metal. No band has ever sounded like Rammstein, before or since, and with Leibe Ist Fur Alle Da, the band dig back down into their own souls and unleash the dark monster that makes the band tick. Combining all the grinding machinations of metal-snapping guitars that marked their earlier work with the expanded production and dynamic textures of the later albums, Rammstein have created a beast worthy of being caged with their own creation. An ugly, fucking brutal, beautiful album. A classic of haunting, grinding, distinctly German metal.
"Ram stein" literally means, "a battering ram made of stone," and that's when Rammstein is at it's best, ramming their Teutonic grind right down the listener's throat. And that's exactly what they do with the opener "Rammlied." Beginning with a classic-sounding Rammstein synthesizer, and German cabaret vocal intro, the razor guitars slice into the song like a bone saw tearing through a rib cage during an autopsy. And what a riff it is, after the initial terror of the guitars tearing into the flesh, the whole song drops down into a riff/groove of such perfection it could actually rival "Du Hast." Bass rumbles like some approaching panzer division under the ghostly female backing vocals, Till Lindemann's vocals sound even more disturbing, twisted, and demented than ever before. Synths swirl the song straight into dancefloor territory, but the rupture of the guitars never lets you forget that this is metal. Purely crushing, chew-you-up-and-spit-out-your-tendons metal. With it's stop-start riffing, gentle middle passages, full production, and undulating pulse, "Rammlied," is everything that every Rammstein fan has been begging to hear since Sehnsucht.
From there the album is one epic of thinly veiled Rammstein insanity. "Ich Tu Dir Weh," kicks off with a firing squad guitar/bass sputtering intro before heading into "Engel" territory with a roaring locomotive of a grinding guitar riff. Without ever losing its pacing and beat, this song roars down those metallic tracks, gaining speed with every broken guitar string and shattered cymbal. A song worthy of following "Rammlied," shit, this song is worthy of following Sehnsucht on it's own. A rousing, soaring chorus only further serves to elevate this one to the memorable.
As always, the entire album is sung in German, and yes, it's perfect that way. Absolutely perfect. The guttural nature of the language is an outstanding mesh with the intensity of the music. It actually make the music more brutal, more cryptic, more like that ramrod made of stone, powering the lyrics into your brain. What ever happens, I pray Rammstein never succumb to industry pressure and record in English. I saw a review where the reviewer stated " . . . showcases the very weakest links in the band. Whether it be the tonal qualities of the German language to foreigners, or just Lindemann's vocals as a whole, when it's not pantomimic, it's just plain disconcerting." To put it as mildly as I can, that person is an ethnocentric idiot. Put him in a corner with his English language Jonas Brothers CD's and his Mylie Cyrus, because he doesn't get it. He just doesn't get it. And true Rammstein fans don't want him to get it anyways.
"Waidmanns Heil," keeps the fire-spewing engine charging headlong down the tracks. This song has more power and urgency behind it's riff than I've heard in ages from my discarded stack of industrial CD's. Again, the production works perfectly here, reigning in the madness, containing the fury with snapshots of beautiful synths, dropped out guitar parts, and accapella verses, while doing nothing to restrain the out-and-out fury of the guitars.
Rammstein bring enough disparate elements to their industrial crunch, like the pure '80's synths of "Haifisch", the constant overlapping female Wagnerian vocals, brooding Gothic overtones, and flashes of nostalgic Brecht cabaret that it's really about time we started recognizing this music for what it is, German prog metal at it's finest. Anyone who tries to pigeonhole the band into the mind-dead genre of pure industrial metal is missing all the nuance, texture, and intelligence that makes Rammstein stand out. Just listen to the gorgeous acoustic pasage that rounds out "Haifisch," and how this blends immediately into the robotic, android synth of "B********" which goes on to be one of Rammstein's most demented, horrorshow, pulverizingly heavy songs in ages. Not many bands have this depth of range and dynamic. Fewer still could make the whole thing hang together this effortlessly, this satisfyingly. Even fewer bands can transport you to a world entirely of their creation that is so brutally terrifying, devastatingly heavy, and fantastically beautiful. And very few can get me to go on that ride willingly. Hungrily.
Rammstein is back with their best album in a decade. Jump on board. The train is leaving the station on some bizarre metallic journey through the fire-spewing hell of some altered German dimension. It's an ungodly, terrifying, all together brutal journey. And you don't want to miss it.
--Racer
This album cover is for the 2-disc special edition with 6 bonus songs. Oh yes!
In recent months, Fen have achieved the closest thing to the induction into the Rock n' Roll Hall of Fame that we have to offer here at The Ripple Effect. The bands 2006 release, entitled Congenital Fixation, has found permanent residence within the hallowed confines of the Pope's Mobile and we could think of no other band that we'd rather spend this particular Sunday morning with. Join us as we delve into the inner workings of the madcap mindset of the music world's most intriguing listen!
When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, Johnny Mathis, Perry Como, and Simon & Garfunkle, the first time I ever hear 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?
Three years of listening to Tool - Undertow began to change my internal chemistry. When their album Aenima came out, the transformation was complete. I was a different person. I held myself to different standards, and I held other musicians to those same standards. If when I'm 90, and Aenima is still my favourite album, I won't be surprised, just a little disappointed that no one else managed to top it for me. NWA's Straight Outta Compton is a distant second.
Your last album, Congenital Fixation, is a well blended collection of left of center songs that still have an air of accessibility to them. How did you go about creating this epic listen? What do you have in store for us with the next album?
Sam usually brings in a riff to jam on. That is typically the left of center aspect of the song. I try to come up with melodies that detract from this left of centerness and offer an overall flow. This tension has served us well over the years. And in the beginning, the left of centerness dominated. Around that time, a bookie told us our music was "abhorrent to the masses". That was fine back then. But we've struggled hard over the last couple of albums to wrench that left of centerness a little closer to the middle. With the upcoming album, Trails out of Gloom, I suspect we're closer to the middle than ever. If we keep heading in this direction, who knows, down the road you might see our name on a bill with Rhianna and JT.
It would be easy to simply rehash works from you past, so where do you look for continuing inspiration to keep things fresh? New ideas, new motivation?
Four albums in, we haven't reached the point yet where we've begun to go in circles. We like to keep trying to get better at making recordings, and if it's not just a figment of our imaginations and we are actually improving, then we have no reason to go back and sniff at the crusty poop of our first album for ideas. That said, there's always one guy at our shows that shouts out the name of a song from that CD. I used to pretend he was just a heckler and meant us to call us out for not being able to play every song from our discography right there on the spot. But I've spoken to him now on several occasions, and he insists that that particular song, Cum & Snowflakes, is the best thing we've ever done. I don't know. I think he's kind of fixated on the title. And I’m a little worried about what he might do once the song begins.
When you write a piece of music, do you consciously write from the mind set of being different than what's out there now?
We definitely try to avoid ripping off our influences. Certain notes get avoided. Certain rhythms get flipped inside out. But more importantly, we try to make music that keeps us healthy. If something's not right in a song, one of us feels it, and it makes him sick, so we do what we can to remedy whatever it is. It's not always obvious how to make that sickness go away. Sometimes it takes exploratory surgery. This can last for months, even years, and it makes all of us a little queasy. But when all the staples have been taken out and the scars have begun to pale, we know we’ve got something uniquely our own.
What is you musical intention? What are you trying to express or get your audience to feel?
Technically speaking, our musical intention is to expand both ends of our creative range, the progressive end and the good ol' catchy song end. As for showing feelings…feelings of an almost human nature I suspect that individually we seek to extricate from ourselves the things we no longer want to feel alone.
For you, what makes a great song?
It takes you through, beginning to end, without having to think about the music. You try to pay attention and be a good listener, but the song sucks you in and before you can struggle to get your bearings, it's over. It's had its way with you. And it will again, and again.
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?
We make music because we have no other choice. It is the only way to feel good. For a long time, the biz didn't exist for us, and we riffed along on our merry way, happily oblivious. As we slowly discovered it though, we found that, yes, the biz is ugly, but also that it is a means for connecting with people all over the world who we might have something in common with. Tapping into even a dribble of this kind of power is hugely inspiring. A kid from Uzbekistan purchasing a CD from http://www.fenmusic.ca/ is all it takes to erase months of biz brutality.
Describe to us the ideal (realistic) record label and how you'd work with them, and they with you.
The label would take our music home and study it down to its emotional essence, then run the findings through their database to find out which listeners are in need of such a concoction. The label would print out a list of emails and phone numbers, then start letting people know that the music they've been waiting for is here, and available under the name Fen. The people would be grateful because that specific need of theirs would now be satisfied. Everyone would win. We would all be happy.
We’ve noticed that certain regions of the world produce certain varieties of music, and without a doubt, Canada has produced some of the most forward thinking bands in my record collection with the likes of Rush, Voivod, Braintoy, and now, Fen. What do you think this regional uber-creativity can be attributed to?
Having time seems to be the most important factor. So the location has to provide that. If we lived in a place where we had to walk two miles to get clean water or work 16 hours a day hoeing a field, then the likelihood of releasing a professional recording would be considerably less.
BTW, I would add The Smalls to your list of Canadian bands, especially their album Waste & Tragedy.
Suggestion noted and filed away in the 'Things to get done' folder. Thanks for the lead!
Anyone who’s spent more than ten minutes in the music business has had to have had a Spinal Tap moment or two. What were some of your more colorful experiences?
When we were looking for artwork for our first album, Surgical Transfusion of Molting Sensory Reflections, we got the idea to Frankenstein together a creature from the products available at our local Chinese market. We got a cow’s tongue, chicken feet, a couple handfuls of pig uteri, and other things we weren’t too sure about. We froze them over night and in the morning began driving to Fruitvale, a little hippy town where we knew someone with a farm. It was blazing hot that day, and about an hour after we left, the car broke down and the closest mechanic said he couldn’t get the parts to fix it until the following week. We grabbed our backpacks out of the trunk as well as the cardboard box of animal parts and started hitchhiking. From Vancouver, the drive to Fruitvale is almost ten hours, and our luck getting rides was about what you would expect for two sweaty guys with a cardboard box that was beginning to get soggy in the corners. We ended up in a mountain town called Revelstoke at about eleven at night. My crotch was soaked with meat juice from holding the box on my lap for so many hours. The idea of sleeping on the side of the road and having a bear come by and eat my gonads was discouraging. We got the cheapest motel room we could find, poured the thawed and reeking contents of the box into the bathtub, made several trips to the ice machine and back, then crashed in our clothes. If the owners had sensed anything suspicious and sent the cops to our room, who would then have discovered the dismembered animal parts, I have a feeling they might not have believed our true intentions.
Vinyl, CD, or digital? What's your format of choice?
No preference. I try not to get attached to the specifics of technology.
We, at The Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to visit?
If you like metal, it's Scrape Records. If you like used CD’s, it's Zulu Records.
Finally, any words of wisdom that you’d like to pass on to the Waveriders reading this?
The search for dark musical goodness never ends. If any one knows of any, please email us through the website.
As legend has it, nearly 40 years ago on August 31, 1970, a 35-year-old Leonard Cohen was awakened at 2 a.m. from a nap in his trailer and brought onstage to perform with his band at the third annual Isle Of Wight music festival. The audience of 600,000 was in a fiery and frenzied mood, after turning the festival into a political arena, trampling the fences, setting fire to structures and equipment - and stoked by the most incendiary performance of Jimi Hendrix's career.
How would you like to be the act that had to follow that?
But Cohen was up to the task. Onlookers and (fellow festival headliners) Joan Baez, Kris Kristofferson, Judy Collins and others stood sidestage in awe as the Canadian folksinger-songwriter-poet-novelist quietly tamed the crowd. His understated, near monotonous baritone struck deep into the crowd, striking a collective nerve deep within their chests.
The CD captures Cohen's complete performance, and all the tracks are previously unreleased (sans bits of "Suzanne" which were featured in the documentary Message to Love). Included are live, definitive versions of classic songs from the first two Leonard Cohen LPs: "So Long, Marianne," "The Stranger Song," "Hey, That's No Way To Say Goodbye," "Suzanne," "Bird On The Wire," "You Know Who I Am," and "The Partisan" as well as spoken word and poetry.
Just listen to the plaintive honesty in Cohen's rendition of "Hey That's no Way to Say Goodbye," or the tender fragility of "Suzanne, " and it becomes immediately apparent why Cohen was already a budding legend.
This CD/DVD package also contains the new, beautiful film documentary by Lerner featuring interviews with fellow festival performers, and vividly captures Cohen's performance.
We’re going back to the vinyl vault for this one, and I have an old chum to thank for reminding me that the world needed to be re-introduced to this gem. Sometime back, I reviewed Life of Dreams from Crumbsuckers and went into some detail about the crossover hardcore classic sounds held within the grooves of that bad boy. Well, this time around, I’m shining the spotlight on the band’s 1988 follow up and final release entitled Beast On My Back, commonly referred to by fans as B.O.M.B.
In returning to the sounds of my youth, the memories of my initial reaction to this disc flooded my psyche. The first time I put the needle to groove, I immediately took about three steps back from the turntable, gazed questioningly at the sound emitted by the speakers, and then gingerly approached the sound system to inspect what might be askew. It turned out that everything was in proper working order and that someone had fucked with the sound of my band rather than the operating system upon which it rotated. This was a slowed down form of thrash metal, complete with extended musical compositions and guitar solos. Hell, there was even piano work opening the first track and an instrumental piece closing side one! What the hell? I remember asking. Quite disappointed, I sat on my bed, arm strategically placed on my knee to support the weight of my head, and I listened to the band that sorta’ sounded like Crumbsuckers, but wasn’t the quasi-hardcore sounding stuff from Life of Dreams. I listened. And, then I listened some more. And, then I got up from my Thinker pose and flipped the album over once again. Before too long, the sun went down and I had listened to Beast On My Back
about ten times, and you wanna’ know what I discovered? I found that not only was this album growing on me (duh!), but I was thinking in the deepest, darkest recesses of my brain that this album could quite possibly be better than the first! How in God’s name did that happen?
“Breakout” doesn’t necessarily “breakout” of the gates, but it does break the band out of any confines that the music world had previously placed around them. The piano intro and slow, melodic build up show a band that has turned its back on the gospel of by-the-books-or-else-you-suck punk ethos and have embraced the idea that it’s cool to know how to play one’s instruments with some sense of melody. But, don’t go thinking that Crumbsuckers have gone all Barry Manilow or anything (not that there’s anything wrong with that), they still know how to bring the hardcore breakdowns into play and still pummel the senses with the best of them. As the progressive musical intro fades out, the Crumbsuckers of old rear their beautifully ugly heads and that hardcore flavor jumps to the top of the mix. Super fast, super aggressive, the lad’s fire off a sonic beat down that would fit fine on Life of Dreams. Chris Notaro’s incomprehensive guttural vocal tirade is top notch and unlike any sound experienced before or since, and it adds further nastiness to the whole composition. Speaking of composition, “Breakout” is a study of a group of guys taking two forms of music, and not just the fleshy parts, but the genetic makeup of heavy metal musicality and hardcore aggressiveness, mashing the two together and creating an incredibly intense, new subspecies of sound. The heavy metal portions are epic heavy metal, while the hardcore portions carry so much aggression that you’ll unwittingly clench your jaw to face the oncoming barrage of violence. And, just when you think that the storm of chaos has subsided, it only takes about two seconds from the next song to destroy any sense of comfort. “Jimmie’s Dream,” with its guitar-centric opening riff and thundering, up tempo beat, is highlighted by impressively tight starts and stops, and Notaro’s unique and impassioned vocal performance.
Things don’t change too much when we flip over the platter as we’re welcomed to side two by “I Am He.” Again, the vocals over this high octane speed freak are delectable. Notaro’s grunts and screams excite and revile at the same time, and then of course, there’s the breakdown towards the end of the tune as the guitars go from heavily distorted riffs to clean arpeggios. Then, they go back to a frickin’ sweet melodic riff, which sounds out of sorts with those diaphragm heaving vocals, but God damn! It’s frinkin’ cool! Great time changes and a billion moods all wrapped up in a four minute plus ass kicking. Each song has something to offer in the way of musical splendor, in particular, the uber-quick starts and stops, which may sound disjointed to some, make for an entertaining, roller coaster-type rip roarin’ ride. Check out “The Connection” as the band gives the song breath, yet retains a ton of power by abruptly cutting notes out of the riffs. Or, the melodic splendor mixed with the double bass drum frenzy on “Rejuvenate.” I love it! Melodic metal with hardcore intensity, full on tension that breaks with huge musical movements, subtle instrumentation by each band member . . . C’mon, “Rejuvenate” is a spectacular piece of music! And then there’s “Remembering Tomorrow” with its NWOBHM clean toned intro and epic build up before launching into a thrash-y, palm muted riff. The electro distorted vocals are a creepy touch, but show that Crumbsuckers aren’t afraid to experiment with sounds.
One might go as far as categorizing Beast On My Back, if people still do that sort of thing, as a progressive hardcore album. This disc was so far ahead of its time. It alienated the bands hardcore fan base and, at the time, was too damn extreme for metal fans. Hell! It took me numerous listens to finally hear the brilliance of it. B.O.M.B. is a smart album filled with unorthodox compositions and lyrical fancy. Combining the hardcore and metal genres may not seem like such a big deal these days, but that’s because bands like Crumbsuckers stuck their necks out and dabbled with the idea of merging the two sounds. On the metal end of the spectrum, it’s filled with fantastic lyrical subject matter and highly technical playing. On the hardcore spectrum, it’s bursting with an intense vocal presentation and flat out aggressive attitude. Because of the amount of space between notes and the added melodies, the aggressive breakdowns sound, nay . . . feel much heavier than normal. Finally, the production is great, particularly in the case of the drums. Man, the sound coming from the drums is so sharp, so defined and heavy. You’ll unconsciously flinch with every crack of the snare. And, the production doesn’t end with the drums, but the bass notes are punchy and distinct, the guitars are crisp and clear, and the vocals have a life of their own. Ruel . . . thanks for the trip in time! - Pope JTE
Hey wait a minute! This Luder album doesn’t sound like the usual “regressive rock” that Small Stone Records releases. It’s almost modern! There are no songs that have any kind of Blackfoot influence. Is this allowed?
I guess when the label boss is in the band all bets are off. Luder is a new band featuring former member of Slot, Sue Lott – bass/vocals, drummer is Eric Miller from Novadriver and Five Horse Johnson, with the twin axe attack of Phil Durr and Scott Hamilton and their huge collection of effects pedals. Phil’s also played with Big Chief, Giant Brain and Five Horse Johnson while Scott is the guy dumb enough to release noncommercial records in an indifferent marketplace. God bless him!
If this record came out about 15 years ago, radio consultants would be demanding some edits and the sounds of Luder would be broadcast around the world. Imagine a less heavy Tool with female vocals. Or if the Smashing Pumpkins ever wrote a song that was tolerable to listen to for more than 10 seconds. The album is called "Sonoluminescence," which I thought was a fancy name for a wet dream, but means “luminescence excited in a substance by the passage of sound waves through it.”
The guitars are swirly and the rhythms are very trancey, but the real strength of Luder is Sue Lott’s voice. It’s sultry and very strong. She adds interesting melodies on top of repetitive riffs and has excellent phrasing. And she writes some good lyrics, too. Very evocative but also slips in some really funny lines, too.
“Selfish and Dumb” has a chorus that reminds me a little of Sly & The Family Stone’s “Everyday People” but with Sue singing “you don’t give a shit what I want.” Female cursing in music is always appreciated. So are songs with titles like “Hot, Girl-On-Girl, Vampire Action.” If they ever make a sequel to 1971’s Vampire Lesbos exploitation film it would be perfect for the soundtrack. It’s kind of a Band of Gypsys slow blues with modern production.
Other standout songs include “Sewn Together” which immediately made me think of the line from Slayer’s “Angel of Death” – “sewn together, joining heads.” There’s no real metal influence but there is a great guitar riff, a huge bassline and a big chorus that you could sing Slayer lyrics to.
Ten songs in 60 minutes is kinda long but the songs never get boring. Besides, in their bio they admit that they’ve been told that their music needs editing but respond with “up yours.”
Small Stone’s core audience will love Obiat’s new one called Eye Tree Pi. I flipped over Dozer’sBeyond Colossal album recently and this sounds like the younger brother version of that. There’s less 70’s metal like Alice Cooper and more of a modern metal approach, like if System Of A Down wasn’t so annoying.
This is the 3rd album for these Polish and Hungarian natives living in London. There sound has a very European influence. There’s lots of almost folky lines in their riffs and the vocals are in English but have a strong accent making it sound a bit more exotic.
Most of the songs are on the long side with a mix of metal and prog influences. At 12 minutes “Serpents’ Rites” is their “Stairway To Heaven” starting of slow and acoustic, then getting heavy and eventually ending up with an epic guitar solo. Even the shorter songs start off in one place and leave you in another. “NoMad NoMind” has an almost King Crimson Lark’s Tongue feel before getting slower and then almost turning into The Police.
Fans of all types of heavy stuff will dig this. The guitars are heavy but not tuned super low so that the strings flop around. The rhythms are heavy and slightly unpredictable but never journey too far into navel gazing prog overload. The production is also very impressive. The songs have lots of guitars layering and there are some nice atmospherics mixed in to keep things interesting.
We knew full well on our arrival in Austin that the city’s second largest music festival of the year, Austin City Limits, was in full swing and truthfully, we couldn’t care less.
We weren’t there to see Dave Mathews Band or Mos Def or any number of indy hipsters. No, our several thousand mile journey from California had one goal, one destination, one target in mind. Only a drink from one well was going to quench our thirst. A sip from the dirty swamp water that is Black Bone Child.
The Saxon Pub is a long way from the manufactured-to-please-the-tourists, blues sound of the Stevie Ray cover bands on 6th street. It’s warm and airy, even if a touch small, with a card room in back headed by a gun packing 55 year-old red headed mama who looked like she’d clean out my wallet, claim my mortgage, and steal my record collection all in a single hand. Nicotine yellow stained her fingers as she doled out the cards to the hardened faithful, turning a sly, I’m-gonna-take-you-blind eye my way. Being a rather big and burly guy, I did what any macho, red-blooded American male would do when his masculinity was challenged by a lipstick wearing hellcat gambler--- I turned tail and ran as fast as I could towards the bar.
Finding relative safety in a glass of Lone Star beer, the Pope and I settled in to wait for our boys. Arriving late, we missed most of the set of the Stephen Bruton Tribute Band. Unfortunately, neither Pope nor I knew who Stephen was, but we garnered a couple of things; he created some amazingly soulful, melodically tasty blues tunes, and he was incredibly well loved by the Austin locals. The standing room only crowd threw themselves into their applause with full body and heart for the three songs we heard, and deservedly so. Sung by a grey-haired bluesman with a voice so warm it could melt the polar ice caps, these songs were amazingly crafted, incredibly tuneful numbers with a gentle bluesy swing. We’ll definitely be looking up this cat’s back catalog, and wish Stephen good rocking in heaven.
Having said that, a crowd gathered to pay respects to their lost hero isn’t necessarily the best crowd to follow when you’re a new and relatively unknown band. And that’s what faced Black Bone Child that night. This was made abundantly clear as vocalist/guitarist Donny James and vocalist/bassist Kenny M. were setting up their gear and the two 50’ish women sitting at our table rose to their feet, saying “think we’ll move to the back. They seem kinda loud.” Pope and I cast a concerned look each other’s way, worrying about the mountain the Black Bone Children had to climb to convert this crowd. We knew for a fact that they were gonna be “kinda loud.” It’s a testament to how well they rocked the joint that those same two ladies came back, dancing, by set’s end, but we’ll save that story for later.
Fully tuned, with the crowd claiming indifference, Donny took to the stage, alone with his slide, hollow-body guitar, and filled the pub with what can only be described as a heart-rending treat of swamp gospel. What balls does it take to introduce yourself to the crowd, near acapella? Donny’s soulful voice resonated off the wooden walls and rafters, filling the space with his plaintive tone. Man, that struck straight to the solar plexus. And if wasn’t just me. Let’s forget the Pope for a while, who was a raving, whiskey-drinking, applauding, damn-appreciative, whooping maniac the entire show. With that one number, the crowd took notice, taking their first tentative steps towards the stage, heads bobbing in the universal music-appreciation nod of approval. As the last note was resonating from Donny’s hollow body, BBC took the stage, guitarist Jason King and drummer Steve Hudson rounding out the band, and exploded in a full-on freight train of thundering swamp-filled stomp rock.
Now, let’s uncover my bias right away. Anyone who’s read my review of the Black Bone Child album knows how I feel about these guys. But seeing em live was something else. They unearthed a powerplant of energy and intensity in their performance, from the very first number, that could fuel the electric needs of several small nations. Ripping through album standards like “Ha Ha, Hey Hey”, “Light up the Sky,” and “Mine,” these cats mine deep into a song, finding it’s inherent groove like a pack of ‘49ers digging for a vein of gold in the motherlode. Once discovered, stripped down to it’s most basic, elemental essence, BBC lock onto that groove and ride it like it’s their own stairway to heaven. Nothing you’ll ever hear rocks and grooves so hard all at the same time. And they don’t overdo it. The band knows dynamics, dropping out the bass, riding the drums, inserting a vocal harmony out of nowhere, or lighting a bonfire of harmonica. They mix things up enough, often enough, to keep the song fresh and alive. Then the groove comes back, sounding meaner the next time, like a snarling bull released from the pen, and all hell rises to the dancefloor. This is danceable rock. Rather, this is rock that makes it impossible to sit on your ass.
Black Bone Child play it incredibly loose and tight all at the same time. Watching these cats, each member is going off like jazz musicians lost in their own musical nirvanas, then they bring it all back together effortlessly, never losing sight of that all-prevalent groove. Donny breaks from the intense soulfulness of his voice to fly off into the netherworld on his hollow body, telecaster, or Les Paul. Kenny is a human perpetual motion machine, feet always stomping, hair flying as he works that bass, sings, and wails on the harmonica. “Whiskey” Jason attacks his guitar like a man pissed off at his ex-wife, while “Tucky” Steve drives the whole creation from the back of the bus. To call it breathless is an insult to breathing. This is sultry and sweet-like-molasses, sweaty, fully-humid rock and roll.
As those two previously mentioned ladies came racing back towards the stage, hands clapping above their heads and asses swinging, we all knew we were watching something special. This is a band on the verge, rockets primed, countdown on. It’s impossible to conceive the entire city of Austin not taking notice every time Black Bone Child plays. As the cats ended their set with the gotta-be-a-hit “Baby, Baby,” and into the absolute swamp stomp of “Watch it Burn,” we knew. We all fucking knew.
In a city dominated by music, Black Bone Child will dominate this city.
Hanging out with Donny and Kenny in the parking lot, long after closing time, the sky flashed in a coordinated display of lightning without thunder. A light show from above, as if even the very air around us knew that Black Bone Child needed a bigger stage. Their chance to light up the sky.
To hear what all the fuss is about, tune in tonight to the Ripple Radio Show on blogtalkradio. Donny and Kenny (and perhaps Jason and Steve) will be joining us live, acoustics in hands, stories in mind, sparkling merman at at the ready, and fresh music loaded and ready to tear through this wireless thing we call an internet.
Just hit that funny looking blogtalkradio button to the right, 8 pm Pacific Time, and listen as Black Bone Child burns it down.
One thing that really fuels my fire is false representation. For commercial purposes of selling something that is just not you, it really bugs me. For example, the merchandise banking made off of Dimebag Darrell’s death, and now the King Of Pop, Michael Jackson. It’s sick, and now people are aware of their presence as icons to each’s respective music? While death is never a fun subject (besides the band, Death) the word itself brings such a power. Thus bringing me to the absolutely HORRIBLE clothing company, Ed Hardy, and their latest t-shirt: Punk’s Not Dead.
Knowing no real punk is going to buy/wear this bullshit, not even adding the fact that it costs $154!, this t-shirt is made for those douches on the Ed Hardy bandwagon, a.k.a. rich and brainwashed white (stereotypical, but prolly) males who will get mommy to buy it for them, or have the money anyways to stupidly budget on an ugly, yet popular brand name. Though you shouldn’t judge someone by their looks, a book by its cover, and a band by it’s genre (LOL), every time (all the time) I see someone walking down the street with an Ed Hardy shirt, I can’t help but think, this guy is probably rich. Food for thought: Maybe buy a t-shirt that is $134 less, get active, and give to those who actually need the money. You know, for things like food, water, shelter, clothes, and metal albums. Does buying this t-shirt make you punk? Nope. Badass? Nope. Dumbass? Yup, at least to those who know the roots of punk and how it’s grown into today. Like the great Maynard James Keenan says, “Think for yourself, fuck authority”. And fuck Ed Hardy, too. Punk is now dead.
While on the “Ed” subject, want some real underground clothes? Check out Ed Stone. Ed Stone is badass!!: http://www.ed-stone.com/
With the words of Steppenwolf echoing in our heads, Racer and I drove west along the highways of Texas. The 290 from Houston to Austin, for three . . . maybe four short hours, became our home away from home. Loaded up on bag full of edible crap and CD player in constant rotation with goodies from our collections, we got our motors running. We headed out to the highway. Yes, we were in search of adventure, or whatever came our way. For this brief moment in time, Racer and Pope were truly born . . born to be wild.
In all honesty, there’s really nothing exciting about the 290 west through the heart of Texas. There are a lot of fields, run down houses, some more fields, a little town here and there, a couple more fields, and a greasy spoon that gave us enough sustenance until we got into Austin. But, there was nothing that got the blood pumping or the adrenaline flowing. That’s why we kicked off the trip disc one of Judas Priest’s Metal Works. "Hellion/Electric Eye," "Victim of Changes," "Painkiller," "Delivering the Goods," "Hell Bent For Leather," "Devil’s Child," "Blood Red Skies," "Ram It Down," "Breaking the Law" . . . phew, all good driving songs. The trouble we had was keeping the ole rental Kia from bursting into flames and becoming a beacon to all law enforcement agents that we had intentions of breaking all land speed records for the state of Texas!
Now, if you haven’t been to Austin before, this is a town that is all about the music. Once you find yourself in the downtown area, you sort of feel it before you hear it. The distant and distorted rumbling of sound vibrating its way across the surfaces of all that stands in its way is the first indicator that there’s live music coming from some place. As one gets closer and closer to the epicenter of sound, that would 6th Avenue, the notes become more and more clear, and then one begins to realize that the sound, this wondrous music is literally seeping out from every nook and cranny of every building. No, it’s not just some phenomenon that’s happening on 6th, my friends. This is an event, nay . . . a lifestyle that is fed to the citizens in heaping doses from the waters of Lake Travis! And don’t for one minute think that just because this is the home for Texas blues great, Stevie Ray Vaughn, that Austin is nothing but a town for listening to the blues. It’s so much more than that. Every genre of music under the sun can be found in this town, and really . . . very little that we heard could be categorized as bad.
We came to Austin to meet up with and listen to the sludged out, swampy grooves of Black Bone Child, but more on that later. The Austin City Limits Festival was in full swing, as well, but we wanted something else. We wanted to immerse ourselves in the soulful flavor of the town and try out some of the homegrown delicacies, and though the food is out of this world, I’m talking about the music. Knowing that we were going to be sonically slapped around by a blues tinged band the following night, Racer and I decided that it would be cool to hear something more alt rocky or punky. This is Austin. It wasn’t that hard to find, though it wasn’t where the locals told us it would be. Nestled in between pizza shops that specialized in death metal and variety clubs that specialized in whatever, we found a place that for all intents and purposes was a reggae joint called The Flamingo Cantina. Like many of the bars and clubs in town, the Flamingo was deep, dark, and seeping musical history from the mortar holding the bricks together.
The first band of the night was a little band called The Beat Dolls, and these cats were full of up tempo piss and punk vinegar. I frickin’ loved them the instant they took the stage. I initially feared the worst (Hey! I’ve witnessed many a jam in my day. I’m allowed to be jaded,) but within about one measure of this high powered hardcore fused with elements of ska, my feelings of unrest were replaced by my head bobbing in time and I was cheering along with the handful of folk who had meandered into the club. And yes, I excitedly waved my hands in the air when the crowd was asked if any of us were stalkers. What? I’m a notorious cyber stalker. Just ask any of the bands that I’ve made contact with on MySpace. Led by Angie’s feisty, yet somehow sugary sweet vocals, The Beat Dolls powered through a set that felt like it was twenty minutes, but was actually closer to an hour. Though there was little variation in the styles of the songs, I was captivated by the stage presence of the three band members hovering around the front of the stage. I don’t think I ever once saw the drummer as he was tucked deep in to the murky recesses of the stage and blocked from view by the leaping, hopping, straight up rockin’ out form of bassist Shelby. FYI – Shelby is leaving the band in the coming weeks, so any of you bass players out there looking for a gig, check out The Beat Dolls and go through the proper channels. http://www.myspace.com/thebeatdolls
The show stopper came at some time late in the evening. I’d give you an exact time, but I haven’t a clue. The floor of the venue was suddenly vacated by damn near every person in attendance and I thought, ‘Hmmm. This doesn’t bode well for the headliners tonight.’ Then I realized that all of the patrons were clambering across the stage and those who weren’t on the stage were sidling up to the front of the room to be a part of the experience. The name of the band is a mouthful, but well worth choking on coz’ you’re gonna’ want to remember these guys for no other reason that they put on one hell of a show. Benny Versus the Beast are a ska band, influenced by all the greats, yet not once blatantly reminding me of even one of them. Poison Ivy? Sure, the influence is there. The Bosstones? Of course, what’s ska without them? I’m not going to sit here and claim to be some aficionado on the genre, so I can’t tell you how they stack up next to the greats. But I can tell you this. I haven’t been that riveted to a live performance from a band that I knew absolutely nothing about since I stumbled on Hectic Watermelon opening for King’s X (Read the King’s X Field Report.) Four piece horn section, a guitarist, a bassist, a drummer, and the man, the myth, the legend, Mike Dynamo leading this sordid arrangement with a stage presence the likes I’ve never seen, Benny Versus the Beast made my cheeks hurt coz’ I was smiling so damn much! There was high energy as everybody on the stage was moving, creating an outstanding set that I thought was far too short. And, if there were more folks in attendance . . . you know, making as if sardines packed in a tin was luxurious space, then the Flamingo Cantina would have been the only place to be. Don’t go to Austin for SXSW or ACL, go to Austin to catch Benny Versus the Beast and get caught up in the frenzy and yell “HEY!” at the appropriate times during the ever so crowd pleasing “Rose Tattoo.” http://www.myspace.com/bennyversusthebeast
Austin. Great town with great people playing great music. If you need me, I’ll be checking the real estate listing for the next Ripple office. - Pope JTE
And now, continuing on in our series of interviews with independent record labels, the madmen who run them and their mad quest to bring us the best music.
How did you get started running an independent record label?
Well, I have been releasing records from the early 90's, but Transubstans is the first serious label I run. I started to work at Record Heaven in Sweden back in 1991, and the record store was also ran a label. When I then bought Record Heaven from my previous boss, I closed the old label, and started a new one, as my musical direction was slightly different than the old one was, and I did not want the new to be associated with the old one. So basically, it is good fun, but also very hard work these days, but doing this for the love of the music I suppose.
What motivated you? Did you tap into a particular local scene or were you aiming to capture a sound?
I have been a friend of 70's hardrock / psych / prog sound since 35 years now, ( was fortunate to have a father who had a very nice & quite big LP collection), so it was natural to release bands who have this direction. But we do release some various types of styles, but all have the common thing that they have 1 foot in the 70's.
Which was your first release?
For Transubstans, it was the 3rd album from the Norwegian band LUCIFER WAS, which I think we did around 5 years ago. The very first release I did was a obscure Swedish hardcore / punk band back in 1991..
Who's been your biggest selling artist to date?
Well, I do not like to speak in those terms. I like all the albums I release. I would probably turn down a million selling artist because I did not like the music. But the question can be turned around ; "What is your most famous act", and then I would probably say SIENA ROOT, GRAVEYARD, ABRAMIS BRAMA, LUCIFER WAS, FAITH and BURNING SAVIOURS. We re not afraid to release debut albums, so a few bands are getting well known now as well, like FIRST BAND FROM OUTER SPACE, GARGAMEL, GOSTA BERLINGS SAGA, ORESUND SPACE COLLECTIVE etc...
There's so much to learn about running a label, share with us some of the lessons you've learned along the way.
Puh, I suppose a a good advice would be never to be afraid to take chances, and do co-operate as much as you can with other labels, stores & distributors who are into the same style of music as yourself. I never see other labels as competitors, but as a working / future partner. There is always one or another way to help each other out if you are a label / distributor / blogger / musician or whatever it can be.
What's been your label's high point? Low point?
Well, I can think of a few nice things that happened to us. But maybe most exciting was when SIENA ROOT approached us and asking if we wanted to work with them. It marked, in a way, a level where more etablished bands took contact with us and wanted to work with us. Also great fun was when we were allowed to release the old Swedish album of RAG I RYGGEN, which is one of my favourite albums. But of course, all albums have been high points of our existence. The low point is when DRAHK VON TRIP called it a day, after just 1 album.....
Who would you like to work with, but haven't yet?
Hmmm...I suppose I should mention a favourite band, but there is too many to mention. What we miss most is a good booking promoter who can help out bands out on the road.....
What changes do you see ahead for the music industry?
I think there will always be a marked to release small pressings, much like we do, in 500 - 1000 copies, but the music industry is going down slowly. It is not a easy question, as it needs a real long answer to put any aspect in the air. If not it will piss someone off. But the music industry will need much more awareness from both sides. It is a give and take situation, and I am pretty sure there will always be room for good bands and labels.
What are you doing to stay on top of new and emerging technology?
Not really much. I am not a collector of mp3's or streaming, and like to run my label with physical products. I am always very much behind with new websites / services, and still do not have a Facebook account.
What's the biggest challenge facing you today as an independent label?
Well, that is to understand how I can get people to listen to our bands music of course. The internet is drowning in bands these days, and in someway you have to find a way so the people behind the datasceen get the attention of your release. And if you do not have a million dollar budget, that is hard for sure !
How is most of your product sold? Mail order? Web-based? At shows? Is this changing ?
Since we are one of the longest lived internet stores in Scandinavia, and our reputation is well known, at least in Scandinavia, we sell quite much in our own web-store. But I know our bands do sell good at shows as well + our distributors do a very good work as well with our releases. I think the web-marked with grow even more as it is impossible to buy our releases in most of the stores, at least here in Sweden.
Seems that the sound of the bands you sign keeps evolving. What do you look for in your bands?
Well, it is a absolute must that we like the music. We don't look for particular styles, as we done spacerock, stonerrock, acid folk, psychedelic, progressive, as long as it is underground I am willing to give it a listen + we want to know that the members have both foots on the ground as well. That is very important. I think we are really easy to work with.
How do you find your artists?
They mostly find us these days. It is hopeless to log in on our MySpace site these days, and our advice is to send us a CD-R instead, or a link to our ordinary e mail address. Some bands I seen live and really liked them. Some bands are recommended by other bands on our label. There is no end to the opportunities.
Are you a club rat, constantly searching live venues for cool acts?
Nor really, not these days. A proud father of 2 kids, lives on the country side in a quiet and harmonic way of life. But gigs is always fun to attend, and still go at least 2-3 times a month to some kind of place where there are live music. I think, without that, life would be quite empty.
What are you looking for now?
More money to release more records, basically. More time to put into the work, a good booking agency, the acetate of EARTH (pre BLACK SABBATH) maybe, more contacts throughout the world.
What would you like to see happen for the future of the music industry and your label in particular ?
Well, I have quite much going on right now. The label of course, we have around 15 releases to work on, BLOWBACK, GRAVIATORS, FIRST BAND FROM OUTER SPACE, TASTE OF BLUES, CARPET KNIGHTS, ST. MIKAEL, SKANSKA MORD (ex HALF MAN), WHYTE ASP (ex BURNING SAVIOURS) to mention a few. Secondly, we are approached with so many labels & bands, so we are about to set up some kind of Scandinavian form of CD Baby version which will be great once everything is set up. Keeping spreading Scandinavian bands worldwide I think, and there is plenty of them ! Any bands / labels / artists seeking some kind of Scandinavian (European) co-operation is always welcomed to contact us. We do most things.
Many thanks for the interview, and it is sites like Ripple Effect that helps us keep going and thank you big for this !!
Trust us, waveriders, this is something you don't want to miss.
Hot on the heels of their devastating destruction of their midwestern tour, Black Bone Child, one of the hottest new bands in the land, invades Ripple Radio for a two hour fest of live acoustic music, tracks off their debut album, tales of glittering mermen, and ungodly pipe organ torture.
Having just witnessed the guys shatter the windows out of The Saxon Pub, we couldn't have been more blown away. These guys are amazing. We're pumped to have them joining us, and to have them unplug and play for us live . . . . we're just speechless.
Check out the show, this Wed, 10/14. 8pm Pacific time. Hit that funny looking Blogtalkradio button to the right, turn down the lights, and tune in for a little music history in the making.
Podcast will be available after the show in case you missed it.
Black Bone Child on the Ripple. Damn, life is good!
Back in my days at KSPC FM, I always loved it when I found a secret nugget that could leap across the spectrum, simultaneously satisfying several basic musical needs. Being totally immersed in the gloom and doom genre with bands like Southern Death Cult, early Echo and the Bunnymen, and Theater of Hate, I wanted my music dark and menacing, weighty, hinting at the deep vacancies echoing in my soul. At the same time, I wasn’t looking to commit suicide; I still wanted the music to have a definite kick, a killer bass line and enough punch and vim to get my ass out of the chair and dancing around the studio. When I found a band that could successfully combine these disparate needs. I was in heaven. Bands like Killing Joke, Gang of Four, Tones on Tail, heck even Gene Loves Jezebel and Dormanuu found the inherent groove in the darkside.
Now there’s Livan.
Ask the guy who his influences are and I’m sure you’ll get names like David Bowie, Peter Murphy, and Bauhaus, and while those sounds are there, in truth there’s much more. Bring in a some muscular guitar like early Clash, some of the industrial moodiness of Nine Inch Nails, a smattering of the darker tones of Joy Division, and what results is as much a journey through tone and mood as it is music; all amped up enough to keep the lights swirling in glorious kaleidoscopes on the dancefloor.
Beginning with a stabbing percussion, “King of the World,” starts us on our charging ride of post punk dance. Sounding far more Peter Murphy than Bauhaus, sneering, snotty Bowie-esque vocals layer over the hammering beat, darkly funky bass, and raining guitar chords with a heavy dose of brooding. Check out the sneer in Livan’s voice as he rages into the chorus, which immediately launches the song into the realm of neo-industrial dance at its best. Fully theatrical in it’s approach, and way, way, way over the top, it’s not quite dance music for the goth crowd but enough to fill the floor of any post-punk raver. Flickering lights, fluorescent facepaint, tie-dyed hair. Yep, it’s all here. If I’d put this on back in the studio, I probably would have missed my next segue, too busy dancing my white boy ass off in the hallways to notice the song was ending. This is dance music I can get behind. Or get my behind behind.
Legion Within - Mouth of Madness
Let's keep the darkness flowing. Coming out on industrial monster KMFDM's own label, Legion Within strays far from the roots of their benefactors. Blending in a deep gothic sound over their trance inducing beats, Legion Within infuse their swirling, hypnotic and all-together catchy dance music with layers and layers of haunting electronics and overt theatrics. In this regard, they come across more as Peter Murphy mixed with early Cabaret Voltaire than KMFDM or what you might expect to come from the hard industrial world.
"Someone's Speaking," starts off with a repetitive synth run before the full fury of their dancefloor maelstrom erupts. The vocals are more than reminiscent of Peter Murphy, but trust me, that's a good thing. For this music they work perfectly, carrying the tone of menace and sinister sexuality through the long-held, sustained notes and subtle whiny flourishes. Yes, there is an inherent sexuality in the darkside. Synths continue to pound at me like waves of tsunamis crashing against the shore. In fact the whole song rushes over me like that gushing waterwall, sweeps me up in it's torrential flow and carries me off to some darkened, strobe-lit, kaleidoscopic nirvana. Yes, if you like darkwave dance music, you'll agree. The song really is that good.
The rest of the album follows suit. Hints of Bauhaus drop into "Mouth of Madness." A brighter, almost Church-like guitar tone graces "Golden Voyage," which goes on to sound like a long-lost, and much missed Peter Murphy outtake. "The Empire is Burning," rains down in a hail of distorted synth and crashing percussion, bringing back the thoughts of Cabaret Voltaire. Textures of light and heavy, bright and crushingly dark, filter through the album, And the cats aren't content to let the dark tones run amok. They play with dynamics, stop-starts, mood swings, guitar tones, operatic mood vocals, to keep the album lively. Sure it all sounds vaguely familiar, but that's fine with me. It's a sound I crave.
Welcome to the darkside, now please pass the whiskey.
Most people, especially in America, only know Mott The Hoople for “All The Young Dudes” and “All The Way From Memphis.” Before they got involved with David Bowie in 1972, Mott put out 4 albums on Island Records, toured the world, broke up, reunited and signed to Columbia Records. The majority of Mott best of’s ignore the early years and concentrate on the “glam rock” era. It’s not surprising, since they never had any hits and the Island albums are a bit of a mixed bag. All of them have some great songs but suffer from too many ballads and a fairly thin sound. Brain Capers is probably the best and Wild Life is the weakest (the band refer to it as Mild Life).
But like most bands of the late 60’s/early 70’s, the live show was where Mott the Hoople really excelled. In honor of the original line up reuniting for its 40th anniversary and 5 sold out shows in London this October, let’s check out some vintage Mott from 1970.
Angel Air is a UK label dedicated to putting out rare and live Mott related releases. This live show from September 1970 (opening for Free) is kind of a holy grail among fans since it was recorded for a possible live album at the time but was rejected for some minor technical problems when the audience went berserk and invaded the stage during the encore.
They start off their set with a cover of Neil Young’s “Ohio.” The Kent State murders that inspired the song occurred in May 1970 so this song was still very new and on the minds of young people everywhere. Guitarist Mick Ralphs sings this one and you can hear the crowd responding. Ian Hunter takes over vocals on the long ballad “No Wheels To Ride” from their second album Mad Shadows.
Just when you think the energy is about to drop the band rips into one of their most ass kicking songs “Rock N Roll Queen.” Ian Hunter switches from piano to join Mick Ralphs for a savage 2 guitar attack. The rhythm section of Overend Watts (bass), Verden Allen (organ) and Dale “Buffin” Griffin (drums) rock so hard that you can’t help but boogie. This is what the Rolling Stones wish they sounded like at their peak. Mick Ralphs is back at the mic for “Thunderbuck Ram” a moody but ferocious song with killer guitar tone.
The band takes a break while Ian sings the piano ballad “When My Mind’s Gone” but come storming back for a frenzied take on Little Richard’s “Keep A Knockin.” This is the only song that was ever officially released from the show. It was tacked on to the end of the very mellow Wild Life album to give it a little bit of energy. The show ends with a violent instrumental version of “You Really Got Me.” This is when the crowd decided to invade the stage and knock over microphones and get wild.
This CD adds 5 songs from a show in Sweden from 1971 that also show what a potent live band Mott was in their prime. They open with a great version of Mountain’s “Long Red.” There’s another version of “Thunderbuck Ram” that’s even more high energy than the 1970 take and a killer version of the uptempo boogie “Walking With a Mountain.” If you’re a fan of this era, it’s worth trying to track down the out of print CD of their BBC sessions called The Original Mixed Up Kids. It’s from the same pre-Bowie era and has a great sound quality and song selection.
The current issue of Classic Rock Magazine has a big article on Mott’s reunion and Mojo Magazine also did a really great history on the band a few months ago. Mott The Hoople is kind of a forgotten band these days but they have a pretty fascinating history. They’ve influenced a pretty diverse bunch of bands – Mick Jones of the Clash used to follow them around all the time and so did Joe Elliot of Def Leppard. Morrissey is a huge fan as well as Nikki Sixx. Twisted Sister used to cover “Rock N Roll Queen” back in their bar band days. They sort of paved the way for the New York Dolls and even Aerosmith with their mix of glamour and raunch. Turn it up and check ‘em out.
By now, you all should know my love for music that’s played just left of center. Music that’s written, played, performed, whatever that’s too avant garde becomes noise to my tender ears. I always like it when my “weird” music has a level of accessibility to it, and by accessibility, I don’t necessarily mean commercial, which always has the connotation of sell out. Nah. That’s not what I’m talking about. I’m talking about the music that’s filled with unique melodies, but melodies nonetheless, while still being unnaturally heavy or bizarrely off time or unorthodoxly performed. Enter LAW, maybe better referred to as Lucifer At Work and their brilliantly realized Of Monkeys and Man. Layered with healthy doses of alternative metallic energy, these guys bring a fresh sound into the mix. Utilizing violins in more than a mere textural role, LAW treat my ears with a sound that’s caught somewhere between the heavy crunchiness of Black Album era Metallica and spastic compositional talents System of a Down. Throw in that haunting tone of violin at key points within the rhythms and for their own time in the spotlight during solos, and you get to hear something novel without sounding forced.
“Brain Probing Relativism” captures this band bringing all of these unique elements into play at the same time. That violin is downright creeping, creating a sound that could accompany a wandering patron of a darkened hotel as they silently stalk through the empty and dreary hallways through the dead of night. Bare feet padding quietly on the throw rugs as flames from the candle in hand threatening to extinguish itself, ultimately leaving the bearer of said candle immersed in darkness . . . and left defenseless to unknown terrors lurking in the shadows. Seriously, these guys do a fantastic job of creating mood with their music! Only four songs long, one still gets the sense they’ve been on the journey of a lifetime after listening to this little known gem due to the massive array of music attacking the senses. Of Monkeys and Man is a progressive musical experience in the sense that the music is constantly moving forward and dragging the listener along the road . . . whether the listener wants to go along or not. www.myspace.com/luciferatwork
Modern Day Moonshine – S/T
And now for a trip to a time when music was just, well . . . the stuff that had the power to change the world because we believed in it so damn much! Modern Day Moonshine immediately takes us back to the early 70’s with the fuzzed out rockin’ guitar sound blended seamlessly with the acoustic singer / songwriter vibe of the same time period. Think Doobie Brothers mixed with E.L.O. mixed with James Gang mixed with . . . hell, you get the point. God, this is good rock ‘n roll. Filled with heart wrenching melodies and vocals that both invigorate the spirit and make the soul introspective, and all wrapped around strong compositions, Modern Day Moonshine found the formula that made the Masters of the past what they are. Masters of a great song. But don’t go thinking that these guys are aping or blatantly ripping off the jams of anybody. This five song collection stands on its own merits as music that has power. Power to inspire listeners to bigger and better, greater and greater feats. Yeah, I know. Bold statement, but before you condemn me, listen to the music. I mean, really listen to the music.
“Make Up Your Mind” jumps out the speakers with a funked out bass line and sterling six string action. The vocals have a warmth and soul to them that makes them oh-so-compelling, and they flow perfectly with the groove. You won’t need to pay close attention to the guitar work because it’ll simply smack you over the head with its everlasting flavor. “Running Out of Time” is a the soundtrack to a lazy summer afternoon perched on a rock overlooking a quiet meadow or placid lake. Soulful vocals make the song a little more serious, but enter the dueling acoustic guitar and banjo, and let the light heartedness take control of your two left feet. I simply dare you to listen to a jam like this and not crack a smile. Apparently, these guys are a San Diego outfit and were the house band for The House of Blues in S.D. I’m thinking I need to get out more. www.myspace.com/moderndaymoonshine
Drive By Jones – EP
Speaking of San Diego outfits, there’s a fresh group of musicians who are mixing the low end drone of reggae with some of the quirkier tones of alt rock and ultimately creating a sound that is damn near impossible to categorize. That’s a good thing. Drive By Jones have captivated me with their self titled five song EP with a clean, yet warm, production and simply writing / performing their songs in their own unique voice. Five reggae songs in a row would have bored me to tears. Five straight up rock songs would have been too much of that same old song and dance. But five songs mixing the two styles with further elements of ska and an ever so slight touch of metal, well . . . now we have something that will have me returning time and time again.
When this disc kicks off with “Soul Tree,” all of the instruments fall into place perfectly. The complex polyrhythm’s, the warm tones of the bass acting as the counter punch to the sharp and clean tones of the guitar, the subtly elaborate textures of the keyboard, and the smooth, yet somewhat manic vocals all work in conjunction with one another to create a damn good jam. My God . . . the groove to this song has some serious power as you’ll find yourself uncontrollably bobbing your head, tapping your toes, swaying in your office chair or bar stool . . . your choice. “Unforgive” takes the tempo of “Soul Tree” and drops it down, giving the instruments greater space to do their individual thing. Each member of the band seemingly is playing for their own muse while sticking with the theme of the tune. Dig the guitar and keyboard solos on this one and then the subsequent breakdown, bass followed by drum accents, then the return of the whole band. That, my friends, is just good wholesome songwriting. And then there’s “V-Rex,” a song about a vegetarian T-Rex. You have to listen to the lyrics on this one a couple of times because they come at you from all angles and all speeds. Up tempo and a damn happy tune, I also found it quite educational. Nowhere else in the music world will you find that asparagi is the plural form for asparagus. www.myspace.com/drivebyjones
Florez – Not Alone EP
This is a solid four song set of poppy, alt rock that reminds me, at times, of bands like Weezer. I could listen to something like this all day versus anything that Coldplay has ever done. Why aren’t these guys on every radio station or in every commercial between football games or on huge billboard signs centered in Times Square? These songs are dripping with melody. Like the juices from an oven roasted pork shoulder, these songs are big, fat melodic pieces of music secreting flavorful and memorable sounds. And, on top of that, the songs are exciting little stories capturing the characters in a concise, three and half minute package.
This disc grabbed my attention right of the opening track. “Not Alone” comes out rocking with guitars tastefully distorted, but then the guitars drop out of the mix and we’re left with the bass propelling the tune and accompanied by succulent vocals of the band’s namesake, Alex Florez. And here’s one aspect to this recording that keeps me as intrigued as I am. The voice. Florez, the singer, has a warm and inviting voice, which he has masterful control over. He gets a little rough and gruff from time to time just to spice up the addictively melodic portions of the tunes. Love it! If he was just approaching the songs from the aspect of smoothly following the melody with no inflection, or without his natural vocal nuance, the songs would be standard. Not necessarily forgettable, but not nearly as memorable. “Uncle Frankie” is another gem. Acoustic guitars provide the base for this track, shifting from finger picking to heavy strumming as the song moves along . . . and move it does. Dude! Listen to the various elements within this track! A stop here, a subtle guitar flourish there, quivering voice to strong and empowered chorus along the way, and the richest of bass tones throughout . . . this is the kind of songwriting that put’s a smile on my face. Waveriders . . . you don’t want to miss out on this disc! www.myspace.com/florez
With all the metal, prog, punk, and experimental sounds we rave about here at the Ripple, you wouldn't be faulted for thinking that us Ripplers have an aversion to dance music. As our post of Ze's latest trash/punk/diva single proved, that just ain't the case. We love to get up, shake off the dust and boogie with the best of em. What we do have an aversion to is crap dance music.
All of which brings us to (Pretty) Girls and Lasers, a duo of talented remixers who've been working to spread the electro-indie sound to more of the clubs in NYC, providing an alternative to the hard house and progressive trance that dominates the club scene. For the most part, They’ve been spreading their music through loft parties and small gigs, but they just landed a once-a-month residency at Arlo & Esme in the East Village.
Their first night is tomorrow, Wednesday, October 7th, and don't forget they're there every month now, tossing the dancefloor into a salad of their own creation.
I'm partial to the hour-long mixes, but don't pass up the 10 minute bites also. They're all a refreshing move away from the unrelenting drone of trance nonsense, bringing dance back towards melody and creativity.
The mix downloads are free. What have you got to lose? And if you dig em, check the boys out, live at Arlo & Esme. It's tomorrow, waveriders!
My goodness, it seems like it's been ages since we published our last seasonal listening guide, but it really wasn't that long ago that the Summer Guide helped many a waverider through a festive weekend of hot backyard bar-b-ques and beer. But now with the days getting shorter, the nights getting cooler and a different scent in the air, it's time to look towards the next season and our Ripple suggestions to bring in the coming months.
Of all the seasons, autumn is without a doubt my favorite. There's just something about nature in autumn as it prepares to sleep. The simple joys of reaching for my favorite sweater, the heat of the summer finally past. The chill in the air makes me introspective, a time for solitary walking, crunching the fallen leaves under my hiking shoes, the flip-flops and sandals safely packed away for the season. It's a time for taking stock of my life, for recharging my energies. Time to start a meditative journey.
And all that requires the perfect musical accompaniment.
Kym Campbell - So Alive
We're going to approach this Autumn guide like a daily diary, tripping through the hours as time ticks away on your autumn day. And to start with, we've got the rising of the morning sun. Perhaps in autumn, that morning dawn has more power, more of a hypnotic effect, knowing that the sun is going into hiding, and that each moment will become more precious. And without a doubt, the music to greet that rising sun is this debut disc from Australian singer/songwriter, Kym Campbell. Fresh as a newborn breeze, and light and joyful as the rising sun itself, Kym seems to have captured sunshine in a bottle with this release. And really, don't we need that as the winter begins its approach? Listening to Kym is like grasping onto those last few rays of summer sunshine and pulling them into your heart for safe storage; you can almost feel the warmth against your face, the brightness shining though your eyelids.
Imagine the best parts of Sheryl Crow combined with the gentle folk acoustics of Vanessa Kafka and you'll get a good starting point. Then add in a voice graced with innocence, yet slyly coy, and deeply sensual in its own confidence. Getting the picture? Graced by spartan arrangements, rarely featuring more than an acoustic guitar, some percussion, and the distant fill of some bass, Kym imbues her songs with a breezy joy that just feels like freedom to me. Like the last of the summer birds taking to the sky for winter's migration. Light and playful, each song is like a tiny capsule of the perfect melody and chorus finding unison. Lots of folk music may bore me to tears, or be too impersonal to strike a chord, but not here. Just listen to the title cut, "So Alive," and Kym's coy, yet deeply sensual voice. When she sings "I start to realize/that you're real/and you can make me feel/so alive," there can not be a single warm-blooded male who doesn't melt a little bit inside. I know I do.
It doesn't take long after the morning sun before the first dark clouds of the approaching winter settle in, darkening the skies, adding a deeper level of complexity to the day's feeling. With that approaching stormfront, a change in music is required, one slightly more complicated, more foreboding. With that change, Cellarscape makes its way into the player. The creation of one man, Paul Terry, Cellarscape drives new tension into the alt-acoustic genre. At times light and playful, at others crushingly heavy, punishing, sinister, Cellarscape is a perfect reflection of the atmospheric drama about to take place.
Starting off with the Aztec Camera-bliss of "Crawlspace," it doesn't take long before Paul begins to play with textures and tones. Shades of a deepening sky blow through the frenetic strumming of "Target Acquired,"then lighten like a passing cloud as the song reaches it's elevating chorus. Contradictions in light and dark follow, like the deeply absorbing malevolence of "The Creek," the frank, gentle beauty of "Patience and Zara," or the dynamic shape-shifting "You Got the Girl." Paul Terry has created a shifting soundscape of mood and intention, shadows and passing lights. Turn it on as the storm approaches. See if the thunder doesn't resonate in time. http://www.sbrecords.co.uk/
Sky - Love in Grace
With the downfall of rain, your face presses against the window. The coolness of the October day bleeds through the glass, chilling your flesh, goosebumps trickling across your arms and down your spine. And as the rain continues to fall, you drift into moments of reflection, thoughts melting away into the repetitive patter of the drops on the roof, your eyes fixed on the splashes in the puddles. You turn on Love in Grace and find your own moment of autumn bliss.
Originally crafted as a symphony by the multi-talented composer/instrumentalist, Sky, the project was eventually abandoned. Instead, Sky kept the fundamentals of the classic format and added new instruments, like the bouzouki, harpsichord, piano, and synthesizer and crafted a beautiful statement of ambient beauty and complexity. Don't go thinking Yanni overblown pomposity, Tesh mediocrity, or any number of new age composer banality. Sky's work isn't simply background music for choosing your incense at the self-help book store. Favoring the B flat minor key, the entire work has a deep moodiness to it. A darkness, a sense of weightiness that's the perfect accompaniment for the autumn rain. Tchaikovsky once said that the B flat minor key is the "feeling that you get when you are all alone." Hard to argue with that. Lose yourself in the glorious thirteen minutes of "Love in Grace," or "Memories." Press your cheek harder against the frosty glass, and let it all go.
Of course not all of autumn is dark and mysterious. In fact, I find autumn to be the most intensely romantic season of the year. Long walks wrapped in thick sweaters. Pumpkin spice tea and blushed cheeks. As the rain begins to lighten, it's time to take our listening guide to a more comfortable, more romantic place. By the fire.
Brew your cup of tea or coffee, grab a fluffy blanket and furry slippers, slip into something warm and comfortable and pull up a spot by the fire while Sunna Gunnlaugs inspires your romance with some jazz de elegance. Sunna has a restrained yet articulate touch on the keys, intuitively bringing the right touch to each composition while her immaculate accompaniment of Tony Malaby on sax, Drew Gress on bass, and Scott McLemore on drums, drive the songs through moments of soul-searching introspection and passages of joyful swing. Sunna re-imagines 5 Icelandic folk-songs for jazz quartet with stunning, and hauntingly familiar results. Just listen to the dark sensitivity of the opening moments of " "Hollukvaeoi," or the Dave Grusin-esque ascending/descending chords of "Upp a himins blaum boga," leading into that jubuliant, playful sax. If you are a jazz fan, straight-up jazz that is, you'll find something to treasure here. Watch the fire burn, snuggle a little closer to the one your with, and your autumn day is now complete. http://www.sunnagunnlaugs.com/
How did you get started running an independent record label?
Back in 1991 I had some good friends who were in a band called Sugarhed. It was stoner rock for the 90’s in a big way. I was the guy who was hell bent on putting out a color vinyl 7” by them. A few years after that initial experience, I met Sean Wolfe and the Stiletto Boys. They were playing a dive bar in Harrisburg Pa. opening up for my buddies in the Martini Brothers (whose first cd I just re-issued!) I ended up doing two 7” with those guys but the third 7” got forever canceled when I hadda do some time in the joint, and then some (3 years) of parole. They ended up doin an LP with High Society Records from Germany and also with Pelado Records.
Fast forward 10 years, and I end up quitting my job and moving to Cheyenne and starting ZKR all over again full force! I worked at McDonald’s and I washed cars at a car dealer to get this thing back up off the ground. Sean Wolfe is still with me (couldn’t do this without him!) as my web designer/art guy. Throw in Jimmy White from Cockroach Media and some good signings and you have ZKR re-born! We’ve put out a total of 80 or so records/cd’s in 2 ½ years. Since April 2007.
What motivated you? Did you tap into a particular local scene or were you aiming to capture a sound?
I am mainly motivated to do this because I truly love/enjoy listening to new bands, going to shows and creating beautiful vinyl and artwork! We try to make cd’s look as good as possible as well. We spend time and money on things like re-mastering stuff, hiring and working with great artists to do artwork for these great bands. We try and go the extra mile to make a quality record. I put out stuff I’d wanna buy.
That leads me to my other aim: to help destroy the current “MUSIC BUSINESS.” We are currently re-writing the rulebooks as far as how music gets sold these days.
Which was your first release?
SUGARHED- “IFFY/HEY YOU” 7”
Who's been your biggest selling artist to date?
Probably the Dwarves or Electric Frankenstein.
There's so much to learn about running a label, share with us some of the lessons you've learned along the way.
Don’t put out your friends records. Ha ha , just kidding. But not really. Unless they REALLY ROCK!
There’s SOOOO many things to learn, I don’t know anywhere near all the tricks yet, but you definitely hafta watch out for WHO YOU TRUST IN THIS BUSINESS. Labels, stores, and distros will fuck you over in a NY minute!
What's been your label's high point? Low point?
Low point was me going to jail.
High point was probably doing the Dwarves 7” or the new Duff McKagan lp.
And I have so many more GREAT vinyl records and cd’s upcoming, I am sure there will be many new highs!
Who would you like to work with, but haven't yet?
The Bronx. The Stitches. Steve E. Nix. The Shy Ones. The Greatest Hits. Social Distortion. Metallica. ZZ TOP.
Some of those are already in the works.
What changes do you see ahead for the music industry?
I can see me selling downloads and vinyl only in ever more creative ways.
What are you doing to stay on top of new and emerging technology?
We are doing downloads just the same as the big labels. I am looking for new ways of packaging and selling downloads. I am always trying to come up with “the perfect vinyl package”…from the art, to the fake drugs or stickers that come in em’, to the insane designs we can come up with for the vinyl, to the best bands/music that goes on the records.
What's the biggest challenge facing you today as an independent label?
Selling product in a timely fashion and getting paid for it. I want to do things faster than I am actually able to make them happen.
How is most of your product sold? Mail order? Web-based? At shows? Is this changing?
Most is sold thru distributors, but a lot is sold as downloads and directly from the ZKR website. I fill all the orders from the website and I am busy doing that every day. Sometimes I am at the post office 3 or 4 times a day. I try and ship everything out within 24 to 48 hours. I recently discovered how hard this is to do while on a full USA tour!
Seems that the sound of the bands you sign keeps evolving. What do you look for in your bands?
I like both kinds of music, Punk and Rock! I really look for great bands with great songs and great recordings that I can make into a product that I myself would buy. I love nothing more than going into a record store and getting lost!
How do you find your artists?
Two years ago I was actively pursuing bands via myspace. I found a lot of great talent on there and made a lot of great stuff. For the last year or so, I have just been weeding thru the bands who contact me. That and synchronicity. I have strange powers. I have a real knack for finding great stuff, where you’d least expect it. If you look I have bands from all over the planet. I always find the best local talent around me as well, and in the Denver Co. area, there is a lot of it.
Are you a club rat, constantly searching live venues for cool acts?
Nowhere I’d rather be. You take me to any city anywhere and I will sniff out certain things. One of them being the best dive bar around with punk rock bands.
Or whatever the scene may be. I’m there dood.
What are you looking for now?
Trying to expand sales in order to put out all of the vinyl projects and otherwise that I have cooking. New vinyl coming up by: ROGER MIRET AND THE DISASTERS, HEWHOCANNOTBENAMED, BOB WAYNE AND THE OUTLAW CARNIES, ELECTRIC FRANKENSTEIN/HIP PRIESTS 10”, HOLLEY 750/ ANTISEEN 10”, SOME MORE GG ALLIN, A GG ALLIN TRIBUTE RECORD WITH LOTSA GREAT BANDS ON IT, AND LOTS MORE!
Are you involved in all the creative decisions?
I like to think that I have final say on most stuff. Bands are free to write and record as they see fit and I am allowed to re mix and re master as I see fit. I don’t want any bad sounding records going out. Art I am flexible on with bands, but it’s gotta look good or I will disapprove.
What would you like to see happen for the future of the music industry and your label in particular?
I’d like to sell enough stuff so that I can pay all my bands as much as I can and I could make a little cash myself. I just put it all back in the label anyway. It is a business which most labels cannot survive long in if they don’t have some idea of what they are doing. I run ZKR like a good drug dealer…not a lot of credit extended, and stay on a slow grind.
Sweden’s Progressive venders of gloom and doom, Katatonia, have launched a mini-site (www.nightisthenewday.com) for their highly anticipated, forthcoming album, Night is the New Day, due out November 10th on Peaceville Records.
NightIsTheNewDay.com contains an exclusive album teaser, interviews with the band, artwork, studio updates, and more. Fans that sign up for the Katatonia mailing list at NightIsTheNewDay.com will also receive a free download of a brand new track off the upcoming release, “Forsaker”.
The track list for Night is the New Day is…
01. Forsaker
02. The Longest Year
03. Idle Blood
04. Onward Into Battle
05. Liberation
06. The Promise Of Deceit
07. Nephilim
08. New Night
09. Inheritance
10. Day & Then The Shade
11. Ashen (*Swedish edition CD and vinyl edition bonus track)
12. Departer
Night is the New Day is Katatonia’s eighth studio album, and the follow up to their 2006 release, The Great Cold Distance. The artwork for Night is the New Day was done by Travis Smith, whom also produced the art for The Great Cold Distance, as well as numerous other Katatonia albums. Following the completion of the album, Katatonia will head out on a European tour with the likes of Porcupine Tree and Paradise Lost.
For more information on Katatonia, Night is the New Day, and Peaceville Records…
Ah yes, the musical exploration and subsequent discovery continues! For this album, I have to thank Racer because without him, well . . . I wouldn’t really know anything about Tommy Bolin other than he played in Deep Purple for a short spell and then died. Racer’s seemingly endless vat of knowledge on the subject of Tommy Bolin is nothing short of amazing, and a vat that I return to frequently in hopes to gain more and more insight on one of the music world’s most overlooked talents. I had an impression that Bolin had a couple of solo albums, so that wasn’t a great surprise to me. What got me was that Tommy Bolin called the James Gang his home for a couple of albums! Yes . . . the James Gang that formerly hosted the songwriting talents of Joe Walsh. Tommy Bolin was in the James Gang? Trip out! So, already having a copy (or two, or three,) Racer stuffed Bang into a pile of vinyl that I was lugging home via airline (never an easy accomplishment) and encouraged me to give it a spin as soon as possible. And, I did!
Let’s get into this gem, shall we?
The first thing that struck me once I got passed the initial pops and crackles of the needle riding along the grooves of the vinyl was how that freewheeling swagger of 70’s rock made me feel. It’s like hearing the thrumming bass line and tastefully distorted guitars triggered some latent memory from my youth. Though I don’t remember ever hearing these particular notes played in this particular order, it doesn’t necessarily mean that, at one time or another during my infancy, one of my neighbors (baby sitter perhaps?) wasn’t playing “Standing in the Rain” at volume eleven. The melody reminds me of a time forgotten, the vocals of Roy Kenner sung in that tone nestled comfortably between street-wise tough guy and sensitive, wine sippin’ lover boy. Bolin’s guitar work is instantly recognizable, even though he barely grazes the level of his soulful abilities on this track . . . almost like James Gang and Tommy Bolin are feeling their way into this new relationship. If that is the case, then it’s a match made in heaven by the time track two opens up.
“The Devil is Singing Our Song” is a slowed down, heavy blues based groove monger. My God! The power and emotion bursting from this song is palpable. The tight grooves of the vinyl can barely contain the power of this bunch as they kick out a jam that makes it sound like this group of men were formed of the same DNA. Tight. Heavy. Emotive. The rhythm is perfectly paced to give the vocals and guitars the time to do what they must. Kenner’s vocals have that gruffness through the verses and suddenly split the air like a banshees wail as he belts out the chorus. As great as Kenner’s power performance is on this track (which gets better every time I listen to it), it’s the mystifying talents of Tommy Bolin that comes into its own, forcing the spotlight to split time between the impassioned vocals and the tastefully executed guitar licks. Not just in his approach through the solos, which area actually quite understated, but his rhythm work has a flavor that plays fancy with the imagination. Listen to the beginning of the tune as Bolin quietly accompanies the bass, patiently lurking in the shadows of the groove, and then as the second verse starts to take off, his six string voice begins to play more of a prominent roll. By the time the chorus kicks in, Bolin’s guitar sings alongside Kenner’s voice and little white rabbits are pulled out of top hats. Magic, baby!
Musical epiphany No. 563 occurred as I got to the midpoint of the final track on side one. “Alexis” is remarkably beautiful, eloquently vocalized, passionately performed, and epic in composition. From the opening strumming of the acoustic guitar, to Bolin’s touching vocals, to the searing lead work ushering the song to a close, Bolin penned a classic that no one is talking about. In my mind, there is no reason in the world that this song shouldn’t have been on the top of the charts in ’73 or ’74. The vocal melody reminds me of Rupert Holmes’ “Escape” (also known as “The Pina Colada Song”,) which just makes the tune addictively fun to listen to, but then it builds with emotion and vibrancy, ultimately growing into a beast of a tune. The guitars grind out a heavily distorted rhythm while a second track highlights Bolin’s soaring lead work, finally fading into quiet as the turntable spins itself to sleep. After listening to “Alexis” again, my heart’s all aflutter, not so much from the massive amounts of caffeine that I’ve ingested, but more from the pure emotion that was left on this recording. Something to chew on while you’re listening to this is that Tommy was only twenty-one . . . twenty two years old when this album came out. What really gets me about that is how well he was able to convey that amount of emotion at such a young age. Talk about someone who was in tuned with their feelings!
Side two shows the diversity of this group a little bit more than the first side, kicking off with a burner in “Ride the Wind” as it fully captures that early 70’s rock vibe, complete with big fat power chords and driving rhythms. The tune is powered by the rich vocal melody and performance of Roy Kennar, flavored with textures of synthesizers, as well as Bolin pulling off some well timed hammer on’s. The acapella “Rather Be Alone With You” is the lone track that Tommy Bolin doesn’t get credit for writing and the tune shows more of the musical diversity within James Gang. And, to further drive home the point of musical diversity, “From Another Time” is jam packed with a polyrhythmic funk vibe, layered over with both scorching guitar work and soulful blues licks. “Mystery” becomes musical epiphany No. 564. Warm toned acoustic guitars provide the basis of the song, textured with piano’s and synthesizer’s, and Kennar’s stellar voice. All of the musical elements layered on top of each other create another sonic epic and one of my favorite ways to cap off a brilliant album. Finish the whole thing off with the a song that inspires so much that you either want to go build a rocket ship or listen to the whole album one more time. I’m not much for interstellar flight, so I think I’ll listen to Bang again.
After reading through the liner notes, one might think that this was a Tommy Bolin solo recording being that he wrote or co-wrote eight of the nine songs. And, maybe in some ways, it is. There’s no doubt that Tommy was still refining the art of songwriting, which would receive the full glare of the spotlight on his two solo releases, Teaser and Private Eyes, but the songs that he contributed to James Gang are pieces of priceless rock freshly drawn from the earth of rhythm and rhyme. Personally, I find this entire album to be both artful and straight up rockin’. “Alexis” and “Mystery” are two finely crafted songs that can lift the spirits and inspire further creativity, while “Ride the Wind” and “From Another Time” allow the hair to fall from their tightly wound perch and let us cut loose. Though it may be well known in certain rock communities, Bang is a relative unknown in the grand scheme of things, and I’m thrilled to death that I was able to enrich my collection with its glory. Racer . . . once again, I tip my hat in thanks. I look forward to returning the favor. - Pope JTE
Guitars not Guns, the admirable charity that seeks to keep kids off the streets and in the practice and recording stuidos where they belong have got a great auction going that should appeal to all fans of the charity, music, and especially Heart.
Ann and Nancy Wilson of Heart signed a beautiful new Epiphone Jumbo Acoustic Guitar at their show at the Mountain Winery back in June. GNG have set up an Ebay auction that will begin October 1 (today) with all proceeds going to benefit the Contra Costa chapter of this great charity.
Check out the link below and spread the word. Bid now and bid often! You get a great guitar, a great collectors piece, and a worthwhile charity gets a few bucks they could really use.
If you're in a band or the industry and you'd like your music to reach a larger audience, send it to us for a review. Contact Tseverin@aol.com or send your stuff to The Ripple Effect, 5401 Norris Canyon Road #100, San Ramon, Ca 94583.
Please read the submission policy below.
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Spinning on Racer X's turntable
Grant Hart - Hot Wax
Poobah - Peace Farmers
The Teardrop Explodes - Peel Sessions Plus
Spinning on Pope JTE's turntable
Katatonia - Night is the New Day
Diablo Swing Orchestra - Sing Along Songs for the Damned & Delirious
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?
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