The Ripple Effect

Virgin Steele - Age of Consent

2012-01-28T12:18:00.000-08:00

Ah, eighties metal. Fun, fun stuff. Virgin Steele takes all that was good from the eighties metal pool and mixed it up to spit out a great record. They have screechy male vocals, indulgent guitar solos, and hard hitting songs. The styles fluctuate throughout the record, some sounding like Iron Maiden while the next song is thrashy like old school Metallica.

In the first three seconds of the very first song on Virgin Steele's Age of Consent, I thought, "Wow." And not in a bad way, no not at all. I love eighties metal. You're looking at someone who would gladly rip their right arm off to see Motley Crue, or Van Halen in concert. I loved the sound, elements of classic British heavy metal meeting glam metal to make a great, great album.

The thing I can't get over is the vocals. Very Iron Maiden sounding. The levels that DeFeis reaches with his vocals would make Vince Neil turn green round the gills. From low Dio esque growls, to soaring Bruce Dickinson levels, it's just flabbergasting. The whole album was high energy, and made me want to run on top of a tour bus going down a highway at 90 miles per hour. It packs kick you in the face speed with guitars that'll leave you slack jawed. Go ahead, put on "Screaming For Vengeance." Yeah, now go pick up your jaw from the floor that you headbanged off.

I really just cannot say enough how much I loved "Age of Consent." It was fun, and heavy, and fits right in with classic Dio, Iron Maiden, even Aerosmith. This cd didn't leave my headphones for numerous days. I just freakin' loved it, okay?!

From the talented vocalist himself, David DeFeis describes Virgin Steele's sound as, "From a whisper to a scream, barbaric, romantic, bombastic, yet subtle, grandiose, yet earthy. A call, a shout, an invocation to Freedom and the continual awakening to the awareness that every moment of life is lived to its fullest potential. It is a force, a sacred quest which drives Virgin Steele on.“

Couldn't have said it better myself.

--Gorgeous Nightmare

Old Wives' Tale - Late Night Paraphernalia

2012-01-28T00:18:00.000-08:00

Mini albums are certainly interesting. The more frequently I use the term, the further I enjoy saying “mini album.” Lately albums are becoming more difficult to define, both in size and genre. Late Night Paraphernalia by Old Wives’ Tale fits perfectly into that category. Don’t be fooled by this sophomore album containing only six songs, this genre bending effort is filled with enough energy to entertain you for a long time.

Consisting of Brazilian-born and Miami-bred brothers Felipe & Jaime Valencia, Old Wives’ Tale is a music duo worth discovering. Their energetic “amphetamine” sound is reminiscent of bands like The Bravery and The Faint and their music has been featured on MTV’s Real World: Las Vegas and VH1’s Saddle Ranch.

Old Wives’ Tale self-proclaimed “amphetamine” rock sound is the perfect blend of alternative, indie and electro-rock essential for late night dancing and having a good time. The combination of sweet bass, synth vocals, and the genre-bending music makes Old Wives’ Tale absolutely addicting.

“Frenzy” is the first track of Late Night Paraphernalia. It’s an electro-rock song containing sweet guitar riffs and an infectious bass. Personally, I’m lost what they are even singing about, but I love the beats. “Josephine” is a solid rock song describing a guy who wants to be more than “friends with benefits” with a girl and contains an irresistible refrain, “Oh, Oh, Oh, Oh, Oh, Ooooohhh” that is too difficult to resist.

“Josephine”

Let’s pretend that there is really nothing special here
We’ll just be lovers, no feelings dear
Yeah yeah, no feelings baby
Let’s not pretend this is love
Just wanna take you home
Let’s be fools seeing each other time and time again
Convinced that this will soon end
Oh I know that I should run away
I should stay away
But I can’t help it
I can’t help it
But I’m slowly thinking more about you girl
Probably more than you’ll ever know
But I can feel it
I can see it in you
I can feel it
I hate you for making me feel this good
Where this will go, we will never know
Oh baby, I’m addicted
Can’t get enough of you
I’m addicted

Oh I’m slowly falling for you
Can’t begin to control myself
If only I could say no to you my sweet Josephine
I’ve had long nights washing away your smell
But I wouldn’t have had it any other way
There’s nothing here for us to regret
Oh baby I gotta leave you
I gotta leave you
I have to quit you for good
In the past we’ve gotten over little things like this
I will pretend that you don’t exist
But I think I might have fallen
I might have fallen for you
Just like you’ve fallen for me too
Now I don’t know what to do with you
I’m hungry under your spell
If only I wouldn’t find traces of you Josephine
I’ll have to bid you farewell
Oh I’m slowly falling for you
Can’t begin to control myself
If only I could say no to you my sweet Josephine
I’ve had long nights washing away your smell

When I listen to the intro for “Stranger” I can’t help, but think of a certain Saturday Night Live skit. As Christopher Walken famously said on SNL, “I gotta have more cowbell!” Everyone wants more cowbell and to include it on this entertaining album seems just right.

“Momma Devil” begins with a southern bluegrass-style before breaking out into an awesome and accelerating classic rock song. The alternating tempos and steady drumming on this soulful song makes “Momma Devil” an interesting inclusion on this diverse album. It’s easily my favorite track on this entire album. At times I believe it could be the southern cousin of the track “Young Man” by Living Colour.

Hey pretty momma
BACK IN TOWN
Hunted by my sin again
BACK IN TOWN
Burn me with your fire
BACK IN TOWN
Fire
Dancing with the devil
I’m gonna pay the price
Pay the price
I’m gonna lose my baby now you’re
BACK IN TOWN

Hey pretty momma
BACK IN TOWN
Make me your true sinner now
BACK IN TOWN
Lord have mercy please
BACK IN TOWN
LORDI LORDI
Dancing with the devil
I’m gonna pay the price
I’m gonna lose my baby now
LOSE MY BABY NOW

Hey pretty momma have you had enough
Hey pretty momma wont you dance alone for me
You know you make me want to shout…

Pretty momma what ya doing?
You’ve already done wrong
Hey pretty momma
I don’t wanna dance and rumble

You start to say come on and play
You start to sway to get your way
You feel my hand, you’re wet again
Are you gonna dance or not?
Hey pretty momma wont dance around for me
You know you make me want to shout

Playing me again

Hey pretty momma have you had enough
Hey pretty momma wrap your legs around me wild thing

Hey pretty momma
Gonna pay the price
Crawling back to a cold bed at home
…lost my baby
The last two tracks are “Noise” and “Bliss,” which are two drastically different songs. “Noise” is more rock oriented while “Bliss” is an electro fushion song. Although the majority of the songs are primarily rock oriented, Late Night Paraphernalia contains tracks for almost every taste. Old Wives’ Tale uses simple rock structures, subtle vocal harmony and an interesting mix of instrumentation to create their own unique sound.

--Mr Brownstone

Cryptopsy - None So Vile

2012-01-27T01:02:00.000-08:00

Why is None So Vile, a 16-year-old release from Qubecois death metal outfit Cryptopsy, indispensible?

I will elucidate this in that most classic and festive of forms, the Christmas death metal recipe:

Ingredients:

1) Horrific and completely unintelligible harshed snarled bellowing from one Lord Worm, an insane(r) version of Lord Byron (who later left the band to become an English teacher);

2) Literate (i.e., clever and non-intelligence-insulting) lyrics, from same Worm's Lord (see Decibel's hall of fame entry piece for None So Vile, which include the gem that the lyrics are "The most artful use of the death growl ever put on record");

3) Drums as athletic and goddamn impossible to even air-play play as Zbigniew Robert Promiński's hits from Behemoth's Evangelion (fuckin' A, Flo Mounier!);

4) Pristine, high-gain guitar tone that's still detuned (all the way to B, a fifth below standard tuning), but with a tone and agility that sounds nearly thrashy in the intricacy of the riffs;

5) AND-- liberally put fucking slap bass in it! Slap bass that serves the music and not just the bassist! And doesn't sound like Infectious Grooves!

Directions:

Leave out in sun to rot. Periodically huff putrescent fumes.

Serving Recommendation:

None So Vile, and death metal in general, "works" or doesn't for the same reasons black metal does: when successfully composed, the music becomes the sonic embodiment of fury-- pure rage, that, for whatever reason, has risen up and now manifests itself physically, like some invisible God of Vengeance.

Death metal isn't about Riffs (though there are a few really good ones here; see below); doom, stoner and sludge metal do those best. Pure, adamantine death metal is about fluid, furious drums backing guitars tuned so low they detonate Richter scales, and which still manage to pale in comparison to the presumably-Satanically-Behemoth'ed, only-through-the-lungs-of-hell vocal sounds emerging glacially slowly, grudgingly, from the underworld that is the distorted voice box of the band's vocalist.

This is that death metal.

Best tracks:

"Graves of the Fathers," which at 1:15 drops this sweet pinch harmonic-based riff with a great drum lick under it, and at 2:15 drops into a fantabulous open B riff and at 3:30 cums some brilliant blast beats;

"Dead and Dripping," pure blurred Picasso-using-blood-as-medium chaos, with a beautiful sweep-picked solo at 1:50, which heralds the actual slowing of the tune into a stupid-good riff at 2:06, and another pure hell scream at 2:41;

"Benedictine Convulsions," which at 3:35 spooges one fantastic lurching drunken riff;

"Phobophile," which starts with a piano interude that sounds like something sweet from an 1980s boy band single-- and which then keeps swaying in and out of tune, as if the Baphomet were clutching vilely and violently at Jordan Knight and company-- it wavers, somehow sadistically and psychedelically, in and out of key... until it then hits, predictably enough, at 0:50 with drums and bass and a deathened shriek-- but what you can't predict is how goose-bump generating this is: the hairs on my fucking neck stood out at this point. (Of course, the stereo was loud as shit, so make your own neuropsychologically-informed conclusions about this.) At 2:44 we get yet another slug riff in B over breath-takingly agile drum licks and a death growl that has started to sound more like the pulse of the Earth hurtling through space at 1041.7 miles per hour-- you know, that daily astronomical miracle you've already gotten used to; and, finally,

"Orgiastic Disembowelment," which, at around 2:15, actually has the chutzpah to swing (in death metal? GTFO!) while it deploys a quick sludge metal Riff (note the capital R) that most sludge bands would write an entire suite around.

This fucker just. Does. Not. Let. Up.

It's 32 minutes of sniper-focused, classically-trained, subtle-yet-unconstrained rage that makes Reign in Blood (an obvious ancestor) look positively geriatric.

This is the soundtrack to the end times/apocalypse/ Armageddon/ Ragnarōk-- and simultaneously also why said eschatology will be #greatestpartyEVAR.

None So Vile has just given me, via rather large if outdated speakers, one wonderful afternoon. It is quite literally massaging my old bitter heart as I absorb its high-Db proclamations.

I am fucking digging this shit. This kicked my ass. And I'm older and tougher than I look.

I recommend you investigate these seemingly-hyperbolic claims yourself.

Now... that's it... go ahead and run-- Run home and cry to mama!

--Horn

Sigiriya - Return to Earth

2012-01-26T11:51:00.000-08:00

Way back in the mists of time…the mid 90’s…the term stoner rock was only just starting to surface, in fact stoner rock itself was only just starting to make its presence felt. Kyuss laid the foundations for the desert rock sound, Monster Magnet gave rock and roll and acidic, vintage garage sound it hadn’t seen for over 20 years, Fu Manchu doused it all liberally with a slacker, surf bum approach and doom bands such as Trouble and Cathedral were digging out the flares and adding a trippy groove to their de-tuned dirges. The first time, however, I heard the term applied to a band was a ragtag bunch of retrogressive misfits from Wales who went by the name of Acrimony. At the time hardly anyone would give them the time of day…which was just as well as, thanks to their recreational intake of vast quantities of mind altering substances, they didn’t know the time of day themselves!!! It was possible to see though, from very early on, that this was a band with something very special going on, something very special indeed!!! After several years, two albums, a split release with Church Of Misery and various smaller releases, Acrimony finally bit the dust in 2002 with little more than a ground roots following. The various members went on to find differing levels of success in bands such as The Dukes Of Nothing, Black Eye Riot, The 9ine…etc but during this time away the band’s stock gradually began to rise and, as with so many artists, their true worth wasn’t fully recognised until they were gone and their legacy attained legendary status. When it was announced then that 80% of the band would be reuniting under the name Sigiriya, expectations were, understandably very high.

Many people will, no doubt, be expecting Sigiriya to be a reformation of Acrimony in all but name. To dismiss them as such would be to do no favours to the legacy of Acrimony and would certainly be even less kind to Sigiriya themselves. Let’s be perfectly clear here, Sigiriya are NOT Acrimony!!! Although original Acrimony alumni Dorian Walters (vocals), Stu O’Hara (guitar), Mead (bass) and Darren Ivey (drums) are very much involved with only guitarist Lee Davies missing from the picture, much time and experience has passed so this is a completely new venture. All credit to the band must be given. It would have been easy to trot out the Acrimony name and trade on past reputations but these guys don’t play Acrimony songs and are keen to establish Sigiriya as a concern in its own right, and if this debut album is any indication they will have no trouble at all.

Kicking of with “The Mountain Goat” it’s clear that time and age have not diminished any of the individual musicians’ power. This is a band that sounds invigorated, fresh and above all powerful. Admittedly with the shared experiences and influences there are some echoes of the past in the overall sound…a rolling behemoth of crushing stoner infused riffs and mighty grooves…but unlike the past there is a greater sense of focus and intent and, surprisingly with only one guitarist, a far greater sense of weight and drive.

“Tobacco Sunrise” mixes up classic 70’s rock with Sabbath’s mammoth crunch and subtle indigenous Indian and Celtic flourishes that show O’Hara to be the master of the mighty riff. Walters’ voice has also matured and grown in strength and character over the years sounding strident and confident with a certain patina of time roughing up the edges. One thing that will strike many in this opening pairing of tracks is how tight and succinct the song writing is, each song barely topping the 3 minute mark and free from any extraneous fat that would drag them into indulgent mode.

On “Hurricane” Sigiriya allow themselves to indulge their Celtic roots. In much the same way as Thin Lizzy would tip a nod back to their Irish heritage, Sigiriya evoke the spirit of the Celts in a song that is as uplifting and lilting with its folky airs as it is mind fuckingly heavy. It’s a far from easy task to blend beauty and brutality but somehow they manage it in fine style. You are left with the impression that this is so much more than a sum of their influences, this is a sound born in their very blood and bones.

As with much of the rest of the album, “Whiskey Song” shows that the simplicity of the riff is indeed key. O’Hara sees no need to dazzle with technique when a simple belligerent pummelling will more than suffice. It is this approach, however, that allows Walters to deliver one of the most memorable and insistent choruses on the album and gives Ivey free reign to show that he is a master at laying down a solid yet inventive beer spilling groove. I defy any audience to stay still at a Sigiriya gig and not morph into one single, throbbing entity!!!

“Dark Fires” shows that Sigiriya aren’t afraid to pick up the pace, but on their own terms. This is another Sabbath fuelled romp that again sees Walters display his innate knack for a catchy melody that soars over a “Children Of The Grave” style gallop while Ivey takes out every frustration on his already beleaguered cymbals!!!

For those of you hoping for maybe a little more doom in the Sigiriya sound will not be disappointed in “Robot Funeral” which takes the mood down whilst still allowing those Celtic vibes to seep through before launching into a chorus that I can only describe as doom glam…imagine T Rex jamming with Pentagram on a Welsh mountainside whilst toking on some of mother nature’s finest and heavying everything up to maximum!!!

Inevitably Sigiriya leave the best until last. “Deathtrip to Eryri” can only be described as a towering epic. To try and describe it as anything but would be both futile and foolish. During the course of its ten plus minutes it builds on a solid and relentless groove laid down by Ivey and Mead. In fact it is only around the half way mark that you realise that the tempo has remained constant throughout and the song’s true appeal and the skill of the band lies in the shifts in dynamics that flow from titanic and heavy to mellow and beautiful. Walters lays down his finest vocal line on the whole album and O’Hara pulls some truly stunning melodies from his guitar without losing any of the intensity that the album has managed to reach and sustain throughout its seven tracks.

As I said, expectations for this album will be high but Sigiriya have manned up, risen to the challenge and exceeded them by a mile. I will admit to having been nervous approaching the first listen of this album but before the first song had even run its course I was, for want of a better expression, blown away. This is an album of such incredible depth and power that it’s hard to imagine how Sigiriya will ever hope to match it let alone top it yet somehow I have faith that they are more than up to the task. This is without a doubt one of my top albums from 2011…and in my heart of hearts I think it may even occupy the top slot!!!

--Ollie

http://www.doom-dealer.de/

2 albums from Alone Records; featuring Damo Suzuki with Cuzo, and Orthodox

2012-01-26T00:53:00.000-08:00

I love getting weird stuff in the mail. And these 2 CD's that Racer sent me from Alone Records are pretty damn weird. I'd never heard of the label before but they've been around for 10 years and are based out of Spain. Their catalog ranges from experimental/psychedelic to more traditional rock and metal. Definitely a discography I need to explore a bit more.

Getting back to the weirdness. Former Can vocalist Damo Suzuki is an acquired taste. His performances on classic Can albums like Future Days and Tago Mago (recently re-issued with a bonus live show, gotta get that) are pretty unhinged. He continues in that direction on this new album titled Puedo Ver Tu Mente, a live collaboration with the band Cuzo. The music is very free form with Damo improvising words and melodies in an unknown language. "Puedo Ver Tu Mente" is a sprawling 17 minute jam that starts off pretty soothing before erupting into some good feedback freak outs. Damo keeps his cool as the band goes wild around him. "Tiempo Que No Tiene Ojos en Medio" brings to mind Nico's version of "The End" but with a stronger back beat. The band switches grooves a few times to keep things interesting. It's safe to assume that everyone involved in this project has dropped acid and listened to Pharaoh Sander's classic free jazz album Karma. On that album Leon Thomas does a lot of bizarre yodels and chants. Damo does something similar but the context is much more rooted in psychedelic rock. "Billete Sencilio para Dos" wraps up the album with lots of echoey guitar, whispered vocals and all assortments of noise. If you're into the studio album of Pink Floyd's Ummagumma or the really weird stuff on Freak Out by the Mothers of Invention, then you should check this out pronto

Slightly less weird is the new album Ba'al from Spanish metal band Orthodox. Any album that opens with a moody instrumental dedicated to Burton, John Coltrane and comic book artist Jack Kirby is worth listening to. The rest of the album is slow, heavy doom influenced metal but with a lot of psychedelics. For a three piece band they can make a lot of noise and stretch out nicely. The vocals are pretty unique. They sound almost like Eric Adams of Manowar interpreting Damo's vocals from the Can albums mentioned above. It's certainly nothing I've heard before. I'm not sure how often I'm going to listen to either of these albums in the future but I'm very glad I was given the chance to hear them. A lot of experimental music these days is pretty dull but both of these recordings are worth a spin if only to put your ears and brain to the test.

--Woody

Matt Ebert - Hard Work

2012-01-25T11:56:00.000-08:00

I walked into the weekly wrap-up meeting with my chin lowered and a defeatist attitude. My boss, I was absolutely certain, was going to publicly browbeat me over my recent lack of production. Who could blame him? It had been three whole weeks since I had turned in my last writing assignment. Every one of my coworkers had been able to continuously churn out articles and stories with what appeared to be little or no effort while I floundered fruitlessly around my uninspired mind. Sure enough the questions began right after I sat down in my assigned roundtable seat.

“Penfold. How are you doing today?”
“I’m doing well boss.”
“That’s nice. Listen, I’d say that I was glad you could join us but I’m afraid that’s not entirely true. How long has it been since you turned in your last story?”
“Three weeks, sir.”
“That’s right Penfold. Three weeks. Do you have a story for me today?”
“I’m afraid not sir.”
“Penfold, Penfold, Penfold. What am I going to do with you? Throughout all of last year you were my most consistent producer of fantastical stories. What happened? Has your creative well run dry?”
“I’m sorry sir. For whatever reason, writing has become really hard work for me lately.”
“Don’t be sorry Penfold. Sorry doesn’t pay the bills. New stories pay the bills. Take the rest of the day off. Go home and write something.”
“Yes sir boss.”

Needless to say, I left the office feeling completely dejected. On the drive home I stopped by the post office to pick up my mail. Leafing through the stack of envelopes containing bills, credit card applications, and bank notices failed to lift my spirits. But wait! There was also a key to one of the post office’s storage lockers. These keys denoted the arrival of something too large to fit in the normal post office box. To my surprise I opened the locker and found a rather large package from one Matt Ebert. All of a sudden, my day turned completely around.

Although I made it a point to abide by the posted speed limit, I still rushed home. After parking my car I grabbed my mail and bolted through my front door. The envelopes were quickly discarded and I hastily tore open the large package. It contained a vinyl copy of Matt Ebert’s newest album, Hard Work. For a moment I simply held it in my hands and analyzed the cover art. My eyes beheld a hand drawn depiction of a banjo playing coyote or wolf being recorded by a stereotypical grey alien in the background. Wow! Without wasting another moment I plopped the record onto the turntable and dropped the needle. The music started up, I flipped the jacket over to read the song titles, and a bit of magic happened.

The imaginative music combined with the artwork on the jacket’s back cover combined to effectively jump start my brain. What kind of artwork could wield this much power over my mental faculties? I’ll tell you. It was an arresting image depicting the unlikely scenario of a human man partying and chumming it up with the Predator (yes that Predator!) over multiple cans of beer. One look at that portrait and the little men inside my head shouted, “Creativity is a go!” What had recently been a barren wasteland of ideas suddenly became a hotbed of quality storylines and largely believable dialogue trees. Thank goodness my computer was on at the time! Once the word processor program opened my fingers could not move fast enough. Bearing a confident and triumphant smile I came into work the next Monday with a massive surplus of material. I assure you that I took only a small amount of satisfaction from seeing the look on my boss’s face when I thumped my stack of new writings down upon his desk.

Waveriders I’m going to make a very strong statement to begin the actual review portion of this editorial. At the time of this writing (the second week of January) I can already guarantee that Matt Ebert’s new album Hard Work will face an uphill battle to find a way out of my top five albums of 2012. That’s right waveriders. This album is phenomenal and I’m not afraid to say it! Now, I realize that most of you fair readers are asking yourselves the same question. Who in the world is Matt Ebert? I’m glad you asked.

Matt Ebert is a talented singer/songwriter/multi-instrumentalist currently residing somewhere inside the great state of Georgia. Together with his primary musical counterpart Allan Ray he has been creating and releasing some of the most interesting albums to grace my music players since 2007. What makes Ebert’s compositions so incredibly entertaining is his unwillingness to limit himself musically. Funk? Check. Rock? Definitely. Country? Yes indeed. R&B? Oh yes. Punk and metal? Uh huh. Soul? Indubitably. Bluegrass? You’d better believe it. How would I describe Ebert’s overall sound? That’s rather difficult. Imagine throwing everything I just mentioned into a blender and hitting the puree button. The finished product incorporates each sound, with specific genres more dominant based on the needs of the specific song. Hard Work is Ebert’s third full length album and it brings to the forefront a new sonic wrinkle, jazz. Specifically fusion-like jazz, and the results are captivating!

What we have here waveriders is an album that takes the listener on a forty three minute voyage through the sublime which is impossible to predict. Based on how many genres this music covers that statement makes a lot of sense, but it’s worth mentioning nonetheless. “Ain’t Never” opens the proceedings in a very, very (not just very) funky manner complete with a bottomless groove and soulful female backing vocals. Now whereas a less confident artist might stick with what is currently working for them after a successful first track, Matt Ebert takes the road less traveled. Second song “Ted’s Rafting Adventures” is a straight up jazz fusion instrumental featuring some splendid banjo and synthesizer work (played by Matt Patrick and Brett Carson respectively). The remainder of the first two thirds of Hard Work essentially follows this roadmap. Songs jump from funktastic vocal numbers “Building It”, title track “Hard Work” and “Doodle Bugs”, to sonically varied instrumentals “Evil Ted” and “The 9 Gates”.

And then we come to the last third of the album and things really get interesting. While Ebert’s original compositions are extremely worthy of any music lover’s attentions, with each album he also offers up a few choice covers. Hard Work is no exception. The first cover under the spotlight is the outlaw country classic “Lonesome On’ry And Mean”. Ebert’s gruff voice matches up perfectly with this song’s confident swagger. After another original instrumental, “A Wilderness Of Horrors”, the listener is rewarded with a glorious rendition of Black Sabbath’s “Hand Of Doom”. Outside of an extended jam at the end of the song this is a straightforward cover, but it sounds great. Wrapping things up is something completely out of left field, Ebert and company’s version of the anime show Inuyasha’s “End Theme”. Unfortunately I have never seen an episode of this program so I have never heard the original version of this song. What I can report is that the cover is certainly bouncy and jubilant!

So there you have it waveriders. Matt Ebert’s Hard Work is the kind of album that doesn’t come around all that often. This album is special, plain and simple. It is filled with fantastic, memorable songs. The artist’s sound is unique and unmistakable. If you consider yourself an adventurous music fan you cannot afford to pass this one up. You know what? Even if you don’t think of yourself as adventurous, I bet you like good music. Well folks, Hard Work is what you’re looking for. Get it!

--Penfold

Sample Here- http://www.facebook.com/mattebertmusic?sk=app_2405167945

Buy Here- http://ebertmusic.com/

Animals As Leaders – Weightless

2012-01-25T01:12:00.000-08:00

So this is that djent music that all the kids are talking about, huh? I have to admit, I like it better than I thought I would. I like Meshuggah, the band that this sub-genre is named for, but any time you get a bunch of instrumental music going on there is always the possibility of band members more concerned about showing off how many notes they can play in a minute instead of writing songs that actually have a beginning, middle and end, and you know, sound like songs. Or you get the sparkling, technical proficiency from guys like Steve Vai or Joe Satriani, but absolutely no soul in the music so it sounds like it was written by robots.
This is the 2nd release for Animals As Leaders and the first as an actual band that wrote all the songs together. And to be honest, there are some moments where you can tell that they are showing off their technical prowess here and there. But then again, if you got the chops you might as well show them off when you have the opportunity.

There are 12 songs on this album, and they really do sound like songs and not just an excuse for wankery. There are a lot of time signature changes and a lot of very cool melodies and counter melodies going on in all of these tracks. This is definitely a band that is into the technical side of playing. As a 3 piece you get guitar, bass and drums and there is a fair amount of programmed, synth stuff going on as well, which I would imagine means they have to be incredibly tight when they play live. And I think it is pushing the genre envelope to say that Animals As Leaders are really a metal band. They have some metal moments but this is definitely a very progressive band and I would say much more rock than metal.

I really enjoy several of the tracks on this album. “Somnarium” and “Earth Departure” have some very cool things going on in terms of the aforementioned melodies and counter melodies. In both of these tracks there is a main melody that flows through the song, gets turned around and upside down and comes back to the main theme, and it is very well done. “Do Not Go Gently” is a lot of fun to listen to; again because of the interweaving melodies and the time signatures bouncing all over the place, plus I give them bonus points for not spelling it “Djently”. “New Eden” is almost a pretty song with some nice dynamic contrasts. And “Cylindrical Sea” features some absolutely jaw dropping guitar work.

This is a very good album and one that I look forward to spending more time with. I may even check out some of the other bands in the djent genre. If they do it as well as Animals As Leaders they are worth checking out. –ODIN

Queen - Days Of Our Lives

2012-01-24T14:39:00.000-08:00

THE DEFINITIVE DOCUMENTARY ON THE WORLD’S GREATEST ROCK BAND IS COMING TO DVD AND BLU-RAY

~On January 31~

To Be Released by Eagle Rock Entertainment through Eagle Vision.

"This fantastic and moving two-parter tells the story of the finest live band in the history of rock. There's archive footage of past performances, interviews with the members and, best of all, plenty of insider anecdotes; the choicest being Elton John's reaction to Bohemian Rhapsody: "Are you off your head? You'll never get that played." The Guardian/UK.

In 1971, four college students got together to form a rock band. Since then, that certain band called Queen have released 26 albums and sold over 300 million records worldwide. The popularity of Freddie Mercury, Brian May, Roger Taylor and John Deacon is stronger than ever 40 years on. On November 6, 2011, in front of an estimated TV audience of 1.2 billion they were honored with the Global Icon Award at the 2011 MTV EMA.

But for Queen the journey was no bed of roses. No pleasure cruise. Queen had their share of kicks in the face, but they came through - and this is how they did it.

Set against a backdrop of brilliant music and stunning live performances from every corner of the globe, Queen: Days of Our Lives - available in both Blu-Ray and standard DVD formats, brings Queen’s 40th Anniversary year to a close in suitably regal style.

Days Of Our Lives began as a two-part documentary produced by long-term Queen collaborators and life long fans Rhys Thomas (the comedian who famously broke the Mastermind all-time record points score with a specialist subject of Queen) and Simon Lupton, and directed by the renowned director Matt Casey. After 10 years of making Queen DVDs, Lupton and Thomas were asked by the band to produce the definitive 40th Anniversary documentary and after almost a year of painstaking research and editing, this was the result.

Split over two episodes, Part One covering 1970-80, Part Two 1980 – present day, the documentary is a genuine rollercoaster of rock and roll history.

In this film, for the first time, it is the band that tells their story. Featuring brand new interviews with Brian May and Roger Taylor and unseen archive footage - including their recently unearthed first ever TV performance - it is a compelling story told with intelligence, wit, plenty of humor and painful honesty.

Rhys Thomas comments, “We set out to make the definitive Queen documentary. It's a funny, honest, inspiring and ultimately tragic account of ‘a certain band called Queen’, as told by the band themselves. We tell the story of four students who met in West London, slogged hard and conquered the world, ultimately changing rock music forever.”

When originally broadcast in the UK on BBC 2 across two nights in May of last year, Queen: Days of Our Lives was the highest rated TV show on in its slot, beating every other channel and peaking with 3 million viewers. It has been widely regarded as one of the finest rock documentaries made and the critical reaction was outstanding. “Funny that,” says Thomas, “considering Queen were always denounced by the press!”

“The Boys did a fantastic Job on this documentary ... with little interference from us! I think this one will set the bench mark for years to come,” said Brian May.

Thomas explains the transfer of the original BBC documentary to DVD release: “When originally making the series it wasn’t easy condensing 40 years of Queen down to just two hours. In fact, there was so much more to be said and so much more to be seen. Thanks to Blu-Ray and DVD, so much more of that story can now be told…As the two documentaries worked so well, we resisted the idea of making an epic 3-hour ‘Extended Cut’. They are always boring, and as Freddie said to his manager Jim Beach in his last days: “Do anything you want with my music dear, but never make me boring!

“So rather than simply dump a load of ‘deleted scenes’ onto the DVD and Blu-Ray, Simon and I decided to edit them all with as much love, time and care as we put into the main documentary. What we have as a result is a great companion to the main story and some real gems, most notably covering the formation of the band and the making of the last three albums which was only touched upon in the televised version. For instance, we learn from Brian how John Deacon made a cut in ‘Bohemian Rhapsody’ for the record company and Freddie’s reaction; the revelation that Freddie was not sober during the making of ‘Spread Your Wings’/’We Will Rock You’ in Roger’s back garden, and a hilarious sequence about Queen and their love of Scrabble.

“As well as the new sequences, there are 7 new videos. Excerpts were featured in the main documentary, but we have completed them, and here on DVD and Blu- Ray they appear in full.”
The Blu-Ray format allows for additional bonus material and therefore differs in content to the Standard DVD release. Please check credits for each release.

‘Queen: Days of our Lives’ Blu-Ray & Standard DVD content descriptions:

Documentary Part 1 – 59 mins

Documentary Part 2 – 59 mins.

ADDITIONAL VIDEOS – Blu-Ray and Standard DVD (24 mins):

Seven Seas Of Rhye 2011:

A compilation of all four Top Of The Pops and Rainbow Live performances from 1974 – all unseen

Killer Queen 2011

A compilation of two Top of The Pops performances, one the familiar 1974 Christmas Special, the other - discovered in the late British comedian Dick Emery’s private collection, hasn’t been seen since 1974, the original master tape wiped from the BBC archives.

Somebody To Love 2011

This is a new edit of the video using the four takes shot on the day, most of which has never before been seen.

We Are The Champions 2011

In 1977, cameras filmed Queen recording a new version of the song for the promo video. This video shows the band performing and mixing this unreleased version in two live takes. An instrumental version of this closed Part One of ‘Days of our Lives’. Here for the first time the video can be seen in its entirety.

Crazy Little Thing Called Love 2011

A new edit of the video compiled from the rushes including outtakes and unseen angles.

Under Pressure 2011

A new video intercutting Queen’s first live performance of the song in Montreal 81 and Queen + David Bowie at the Freddie Mercury Tribute.

Radio Ga Ga 2011

This new video includes unseen color footage from the 1984 Radio Ga Ga video shoot plus rushes and outtakes.

BONUS SEQUENCES – Blu-Ray (59 mins) / Standard DVD (21 mins only):

Queen: The Beginning
A detailed look at how Queen formed in 1971. Covering Smile, finding John Deacon, and the early struggles of the band.

Queen On Tour 1974-5

Featuring Queen at the Rainbow and unseen footage of the band touring Japan for the first time. Includes excerpts of ‘Now I’m Here’, ‘Killer Queen’ and ‘In The Lap Of The Gods’ live.

Bohemian Rhapsody

Brian reveals how John Deacon made a cut in ‘Bohemian Rhapsody’ for the record company, only to be dismissed by Freddie: “Either it’s released in it’s entirety or not at all!.”

Working Together

The Band discuss their working relationship, including unheard archive of Queen having a ‘creative discussion!’

Leaving John Reid

An in-depth account of how the band left manager John Reid and set up Queen Productions – plus the revelation that Freddie was not sober during the making of ‘Spread Your Wings’/’We Will Rock You’ in Roger’s back garden.

Don’t Stop Me Now

Brian and Roger discuss ‘Don’t Stop Me Now’ and the ‘Guitar Version’ discarded by Freddie.

Flash Gordon

A short sequence on the making of Queen’s first film soundtrack, ‘Flash Gordon’, plus an alternate promo video.

Making Videos

The band discuss the video making process, featuring lots of unseen outtakes.

Scrabble Wars

A hilarious sequence about Queen and their love of Scrabble. You will just have to watch!

From Magic to The Miracle

In the three years between A Kind Of Magic and The Miracle, the members of Queen went through some life changing experiences in their working and personal lives. This chapter sheds light on what went on behind closed doors.

Going Slightly Mad: The Making of Innuendo

In 1991 Queen hit the charts with a No.1 album and single, “Innuendo.” Creatively the band were reinvigorated, their material better than ever, but beneath the surface, they all had to face the fact that Freddie was seriously ill and time was running out.

Made In Heaven

Roger and Brian talk about the making of the last Queen album, Made In Heaven, working with Freddie in his final weeks, as well and working with the material he had recorded after he had passed away and the emotional distress it caused.

Return To Imperial

Brian returns to Imperial College and shows us around the college where he and Roger first met, formed Smile and ultimately Queen.

BONUS INTERVIEWS - Blu-Ray (19 mins). Not included on Standard DVD:

The Bonus Interview section contains various interesting, funny and insightful footage that didn’t fit into any particular sequence but was too great to leave on the cutting room floor.

Official website:
www.queenonline.com

Yob - Live 1/23/12 - The Bourbon Theater, Lincoln, Nebraska

2012-01-24T10:55:00.000-08:00

Yeah, I may be getting old but I can still rock out the hell out. I certainly don't feel 42 most of the time and I still get excited when a band I love comes to town. I saw that doom masters YOB were gonna be here before hitting the road with Tool, and knew it was maybe my only good chance to see the band that made my number-one album last year.

It was on a Monday, so that sucked, but I still couldn't pass it up. After all, this was gonna be up-close and personal. Intimate.

The Bourbon Theater in Lincoln, Nebraska is a tiny one but it still draws some pretty big names in heavy rock music, believe it or not. Clutch and The Sword come to mind. I don't know why it surprised me so much that YOB would also be appearing there. I guess I just never expected it.

I got there early, not so much to see the opening bands but more to browse the merch. I'm glad I hadn't ordered Atma on vinyl yet 'cause there it was, all shiny and new. I grabbed one, plus a shirt, and then noticed an album cover I hadn't seen before. It wasn't one of the band's regular releases. Turns out it was one of only a few vinyl demos the band had for sale so I got one of those too.

"Lucky you got one," the guy behind the table said. "Only 3 left and then they're all gone. Totally."

Sweet. I took the stuff out to the car, had a small break and headed back inside. By the time the first two bands finished the place was getting crowded and I decided to grab a spot as close as I could. Yes. A little stage-right from the drum kit.

YOB come out with smiles on their faces and acknowledge the crowd - maybe 100 people. This is gonna be an epic night. I couldn't believe I was about to hear this band in such a small venue. The whole stage is maybe seven or eight feet deep and 15-20 feet across. Barely enough room for the band and their equipment. And there I am, with my nose literally 12 inches from the mic stand. The stage comes up to the middle of my shins and I'm braced with the front of my thighs pressed up against huge Yamaha speakers.

I'm ready. Let's do this!

After a short sound check YOB tears into "Prepare The Ground", the first earth-trembling track from Atma. I'm not prepared. I had a thought about grabbing a pair of ear plugs earlier that day at work but that's as far as I got. A thought. Too late now. After the first couple riffs it doesn't matter anyway.

To tell you the truth, I totally lost myself somewhere in the middle of that first song. I didn't have anyone shoving me from behind and no one was brushing either of my shoulders. It was almost like I was the only one there and YOB was playing just for me. My own little private concert in Nebraska. Fucking awesome. I had plenty of room; my body was writhing and contorting to the thunderous grooves being laid down.

I didn't find myself until maybe the third song, I think it was "Atma", when Mike S. broke a guitar string. He apologized and took a couple minutes to fix it himself. No guitars techs at this show, but I didn't mind at all.

"I needed a break anyway," I thought to myself. Maybe I do feel old - my neck sure does. Damn.

YOB tear it up. During a couple songs I find myself fixating on drummer Travis Foster, who has a focused, determined look on his face as he's bashing away. His arms contort in ways I didn't know were possible as he apparently tries to beat his drum kit to death with two wooden sticks. Not since WEEDEATER have I seen such a punishing performance.

A good hour or more after they started, YOB follows up with a cool TOOL cover and then finish the show with "Quantum Mystic", off The Unreal Never Lived. I wipe my face with my shirt and then rub my eyes. Is it over? Wow. That's when I try to clear my ears and remember there's nothing in there.

The crowd fizzles out and I notice the band members tediously breaking down their equipment. "Now would be a good time to go get those albums from the car," I thought, and so I did. All three guys signed them for me without hesitating and listened graciously as I thanked them for coming to little old Lincoln. Great bunch of fellas. I wished them luck on the rest of their tour and told them I hoped they have fun.

"We already are," Mike said and then thanked me and my friends for coming out. He expressed that he's also a little nervous about thousands and thousands of people staring back at him in the coming month. Unexpected bodily functions are a possibility, he joked. Still, go see 'em if there's a show anywhere near you. I can only hope your experience was a great as mine.

To me, this show wasn't just a little warm-up before their big arena tour on the east coast with TOOL. It was special. It was an intimate night with YOB and I'll never forget it.

--Heddbuzz

Astral Doors -Jerusalem

2012-01-24T00:37:00.000-08:00

"Yeah...right," I remember muttering as I read their press kit. I may have giggled a little bit, too.

Ronnie James Dio (rest in peace) was one of the greatest vocalists of all-time, in my opinion, so when Sweden's Astral Doors mentioned, "the sound’s unmistakable kinship to Dio-fronted Rainbow and Dio/Martin-fronted Black Sabbath," when describing their new album, I had more than a few doubts.

Then I heard the 11 tracks of power-metal on Jerusalem and all those doubts disappeared. Poof.

Astral Doors sure backed up their claim about sounding like Dio, and then some. The similarity is so strong that it's almost uncanny, but if you ask me, Jerusalem sounds more like Dio's solo work, Last In Line and Holy Diver. Maybe that's just me 'cause I'm partial to those two albums. Whatever the case, I think Jerusalem is freaking fantastic.

I'm treated to all the power-metal essentials on this one. Clean, powerful vocals (as if you coudn't tell already) with emotional lyrics inspired by war, fantasy and personal struggles. Fiery guitars with electrifying solos. Amazing bass and drums. Got organs? Astral Doors does.

I had no idea about this band until a month ago, but they've been around the block.

BIO: 'In early 2002, Swedish guitarist Joachim Nordlund, drummer Johan Lindstedt and singer Nils Patrik Johansson teamed up and decided to write some metal songs in the spirit of the old heroes Rainbow, Dio, Black Sabbath and Deep Purple. They completed the band with organ player Jocke Roberg and with Martin Haglund on the bass....Jerusalem is a journey through good and evil. Mixed by Daniel Bergstrand, the music of Astral Doors reaches new heights. Blistering hits like "Seventh Crusade", "Babylon Rise" and "With a Strangers Eye" meets up with the epic title track and the video hit "Child of Rock'n'roll"...'

That's a coincidence. Two of those songs I decided to include so you could hear them for yourselves. Just listen and tell me this band isn't Dio reincarnated. And just check out that album artwork. Awesome. I can't tell whose side the dragon is on, though. Is it the Crusaders? Muslims? Must be Jerusalem.

What was I thinking? The Dio-inspired power-metal that I loved when I was growing up hasn't gone anywhere - I just haven't been looking in the right places. I'm glad that I finally found it again, and that Astral Doors have opened up and shown me the way.

Jerusalem is released through Metalville Records. Any fan of Ronnie James Dio will dig this music a lot. Highly-recommended.

--Heddbuzz

Doom on! - Featuring Leather Nun (America), and Orchid

2012-01-23T00:31:00.000-08:00

Raining. Wind whipping the scattered leaves into a violent frenzy of attacking dead foliage. Lightning cracks the sky.

Time to get some doom on.

Leather Nun (America) - All Your Kin

Of all the doom bands that have plodded into the Ripple office over the last four years, Leather Nun (America) have always been one of my favorites. Plowing the requisite post-Sabbath highway of death, destruction, and hating of the world, Leather Nun just seem to do what they do with an unbridled love and demented passion. Their riffs are as heavy as a wrecking ball descending upon my cranium, the songwriting is generally as tight as a virgin's chastity belt, and the mood is as dark as the space inside Charles Manson's soul. In other words, everything you need for a solid doom record.

I'd reviewed their last psycheDoomelic release a year or so ago, but thanks to John Sarnie, All Your Kin, the band's 2007 release found it's way to corrupt our mail carriers hands. And from the very first explosive seconds of "Overdope" I knew I was in good hands.

Not to be confused with the legendary cult Swedish garage, goth and industrial group, this Leather Nun hails from California, and now uses the America tag in their name; Leather Nun America. However, All Your Kin was released before they added that tag, so it's attributed to Leather Nun. Just to clear up any confusion.

One of the main things that makes Leather Nun stand out for me is the intent they put into their music. Often times Doom becomes a battle to see who can play it the heaviest and slowest, but this trio knows how to flex their muscles and add some stoner groove and some plain ol' rock to the assault. The result is a doom record in every sense of the word, but with riffs that charge and a backbeat that drives, and a groove that could almost get my ass up to do the doom boogie. You'll hear some Pentagram here, some Saint Vitus, The Obsessed, even some Deliverance-era COC. Wino is worshiped along side Ozzy.

And there is nothing wrong with that, All Your Kin is potent as a Doom-laden nitro stick, and the whole album chugs and stomps and builds and terrorizes like a mastodon set loose in a china shop. This is doom done right, or a least right in my darkened book. Having heard two of this trio's albums so far I can say with confidence that Leather Nun is way too good to not be mentioned in the same breath as the "big" boys mentioned above. Wake up world, it's not too late to get raped by the nun.

Orchid - Capricorn

I know nothing about this album other than it's on The Church Within Records and came to me courtesy of Doom-dealer.de. That was enough to get me interest. Church Within Records? Hadn't heard of them, but damn if that isn't a cool name for a doom label. Doom-dealer.de I know. I trust. I'm interested.

Disc enters player and damn if the most solid Sabbath doom I'd heard in ages comes terrorizing out of the speakers. Let's set the table right away. This isn't Sabbath-inspired doom, this IS Sabbath doom. From the Iommi flourishes at the end of the riffs, to the Butler-flying bass, the Ward-all-over-the-set drumming, and most importantly, the very-Ozzy vocals. The arrangements are Sabbath. The guitar tone is Sabbath. Everything. There may be another influence somewhere, but I can't hear it. In the hands of a lesser band, this would be tossed aside as a Sabbath cover act, but damn if Orchid don't do it well. And do it without the slightest hint of an apology.

San Franisco's Orchid love Sabbath and they want to play Sabbath, and the results are killer. Does it matter that this album sounds it could've been snuck somewhere admidst the Sabbath catalog of the first 6 albums? Nope, not one bit. That's it's strength. This isn't building upon Sabbath, it's a reinterpretation of Sabbath, staying dedicated to the original template and having a ball with it.

Songs like the manly strut of the opener "Eyes Behind the Wall" and the drill-into-your-brain earworm title-cut simply rock. When they get slower and moodier, they're no less Sabbath, as on the plodding "Black Funeral" with all of it's Iommi-isms. But none of that matters. What matters is that from start to finish, Orchid do it right. Yes, it's Sabbath, but it's fun and the dedication is infectious. Dig it.

--Racer

Thrice - Major Minor

2012-01-22T00:50:00.000-08:00

There are a lot of bands out there who only get one perfect album in their career. Thrice is not one of those bands. Like a fine wine , Thrice seems to get better with age. It seems they get better every album and constantly offering up something musically refreshing. They are not one to stick to the tried and tested formula of writing a “hit” record they just do it…and damn, they do it well. Their latest album, Major Minor is no exception to the rule that every Thrice album is a good one. Damn it I think it’s absolutely fantastic.

Major Minor starts off with the track, “Yellow Belly”. It’s a classic yet refreshing Thrice song. Dirty laden guitars and a steady drum beat incorporate well with Dustin Kensrue’s passionately howled vocals. This song is Major Minor’s darkest, both lyrically and musically.

“You were built for blessing
But you only make them bleed
You don’t care, you don’t care
And bruises are but shadows
Of the blackness that you breed
But you don’t care. You don’t care
Te light that’s left inside their eyes
Is darkened day by day
But you don’t care, you don’t care
Your presume pulls the color
From the world till all is gray
But you don’t care, you don’t care
‘cause you’re less than half a man
Yellow belly, crimson hands
You will one day reap your reckoning
Maybe then you’ll understand
Your hands are made to comfort
But you don’t care, you don’t care
She’s in the closet praying
“Lord, please get me out of here””

“Words In The Water” is by far my favorite song on this album. This is by far the longest track on the album clocking in at 6:07 but also the most beautiful of songs on the album. You don’t even realize how epic of a song this is do to how well done it is. Melodic yet heavy, it is the perfect Thrice song.

“Standing knee deep in cold water,
Swiftly moving, somehow I knew I’d
Lost something
Wading waist deep I saw a book there
In the river, waiting for me to find it There.
I tried to read it, neck deep, treading Water,
but the tide, it pulled me out to sea
Then, with the water in my eyes,
The words began to rise from their place.
They were beautiful and dread;
I reached for them and fed on each phrase.
They were honey on my lips,
But then a bitter twist in my side.
I knew they’d lay me in my grave;
“Is there no one who can save me?” I cried
Sinking, down deep through cold water
And heavy silence,
Shadows stirring in the gloom”

Major Minor made my list as one of the best records of 2011. Really though, check out my top 10 albums of 2011, you’ll see Thrice’s album up there with other albums I deemed “the best” but this is just one man’s opinion. The only way to know for yourself is to experience this album for yourself.

Thrice goes good with: Deftones, Thursday, The Receiving End of Sirens, The Dear hunter, As Cities Burn, Circa Survive, Brand New, Emery, mewithoutyou, Glassjaw, Finch, The Bled

-Cicatriz

The Sharks - Everybody Just Rapes Me

2012-01-22T00:44:00.000-08:00

December in Pennsylvania is a fickle and confused month. Mother Nature goes bi-polar all over our asses and people's behavior starts to mimic. Some days the temperature nears 60 degrees, and on those days people feel as though they've been blessed by God. You step outside on your front porch and the sun beams and the birds (whichever ones have yet to figure out which way is south) sing a beautiful melody just for you and your sense of enchantment. The soothing air caresses your skin and purifies your lungs. Your asshole-neighbor (who usually bitches at you about parking your car in the properly marked space) waves to you as he merrily whistles and skips out to his car, en route to a great day at the office. Then, once he's safely pulled away, his wife calls to you and offers you a "blow-job to end all blow-jobs" from herself and her 18-year-old daughter and her 18-year-old best-friend, in celebration of such a beautiful day. Yes. All is right and good in Pennsylvania when it's 60 degrees on a December morning. But then there are the other days - maybe even the very next day - when all hope is lost.

On those days, the sky is so dark and ugly that it seems to have been colored with charcoal and demon-blood. The wind stabs at you like an angry prison-mate with a shiv. The temperature can plummet so rapidly that those sweetly singing birds freeze instantly and fall from the sky all around you. The local citizenry quickly descend into madness and barbarism. It's enough to make you question the existence of a loving God or even any God at all, and inevitably you'll decide there clearly is not one. So, naturally, you call all your relatives and tell them to get fucked. You find a homeless man and beat the living shit out of him for no reason at all and steal his jacket. As a gesture of mercy, you wrap your cat in the stolen-hobo-jacket and throw it into the fireplace to ensure that Mittens' last moments on Earth weren't spent in a miserable, shivering rage of psychotic hypothermia. You pour a glass of scotch and just as you're sitting down to Google "how to tie a noose," there comes a heavy, loud, incessant banging at your door. When you answer, there stands your neighbor, quivering and dejected. He failingly tries to shout at you - something about his wife and daughter and how they were once so wholesome and pure - but the air is too thin and unforgiving so the best he can do is whisper and wheeze and swing his arms half-heartedly due to delirium, confusion, and poor blood flow. Puzzled and annoyed, you offer to tie extra nooses for him and his family and seeing no other way out of this senseless, ass-backwards mind-fuck of a month, he'll graciously accept.

That is a typical December in Pennsylvania: one day you're in the middle of a fucking Disney movie starring Julie Andrews and forest animals and concubines-galore, and the next day you're burning house-cats and organizing communal suicides.

Well, it was a Friday in the beginning of December in PA and I was Googling 'how to tie a noose' when my email client sounded an infuriatingly-pleasant chime that tells me I have another message to delete. So I deleted it. However, before I went back to my noose-tying education I happened upon a 3-month-old email from my buddy Racer that I hadn't read, which can only mean one thing - new music for review! Against my better judgement I put away my selfish desire to end my own life, made a cup of hot cocoa and plugged my laptop into my stereo to get a listen to The Sharks' 4-song EP, Everybody Just Rapes Me. With a title like that, I'd expect it to sound like a bag of cats being repeatedly struck with a separate, larger bag of cats. But nobody would be brave enough to actually put a respectable-looking cover on that album and try to sell it…would they? Let's find out.

The EP starts with "Give It Up," which at first sounds like a lost-cut from the Reality Bites soundtrack. It's a well-written tune with 50's rock and doo-wop sensibility fused with an alternative sound - a catchy melody, a danceable beat, some cleverly-disguised dirty lyrics. At first I was a little turned off by the song, but soon I realized that it was actually quite refreshing to hear this kind of charm in a new rock group. It called to some youthful, romantic side of me with a soft-spot for high-school dances - a side I've decided only exists because I actually failed to attend any dances during my high-school days. (Although at the time I was too afraid that Kevin Bacon might appear from under the bleachers and tell Chris Penn to start chest-bumping me as endless waves of glitter fell from the ceiling. It gives me chills just thinking about it. To this day, being in an auditorium makes me edgy and paranoid, and an unfortunate fact of my life is that I have many other irrational fears which involve Kevin Bacon, but I'll save that for when I review the Bacon Brother's latest cd.)

The second cut is the title track and it pulls out a punk/rockabilly sound that has me dancing around my living room. Word-splicers call it punkabilly, i guess, but whatever. Who's the vocalist? I still don't know, because I can't find a shred of information about this band, anywhere. A google search will turn up plenty of bands with the name "The Sharks," almost none of whom are the band I'm talking about right now. Anyways, I'm listening to this group called The Sharks. This song, "Everybody Just Rapes Me," is groovy. The title is a little melodramatic but, as you can see from my opening paragraphs, I have no qualms with that. The hook: "Here we go / Time to say, fuck them all / Raise a glass, to your body / Won't somebody save me? Everybody just rapes me!" makes me wonder what this song is really about. My best guess tells me that it is about sexual exploration and confusion, and the struggle of young men to find a balance between society's expectations for them to be decent, respectful individuals, but also to be respected as sexual conquerors. The swing/rockabilly style suits as a context for this contemplation, as swing-dancing is something like the more elaborate, energetic grandfather of daggering or the bump & grind. But for all I know this could be a large metaphor for some political statement about the Queen or something. The fact is that they're English, and I rarely if ever understand what an English person is trying to say.

Track 3 begins. "Dirty, horrible Jesus." Whoa, careful when you're tickling my heathen bones. Don't you know it's Christmas? Oh right, this album was released back in September. More well-structured pop-punk-rock. Damn these guys can write a good song without it being too commercial or too cheesy. The vocalist has once-again changed his singing style quite a bit. This time it's more like Paul Westerberg from The Replacements. That comparison doesn't do it justice. Damn it, who does it remind me of? I can't put my finger on it. I have no idea what this song is about. But I don't really care, and that is the best evidence of the catchiness of these songs. I like them even without relating to them in any way. And now I'm hooked. This EP is definitely going on my ipod.

If "Give it Up" was a lost-cut from Reality Bites, then the final track on the EP, "Sinners Song" is more like the movie Singles. It's more an acoustic, organic sounding song. The lead singer has removed the strain and stress from his voice, and he's decided instead to serenade you into the finale with heart-warming lyrics which remind us that drug addicts, burglars, liars, cheaters, smut peddlers, pimps, prostitutes and politicians are people too. It's like the British version of Green Day's "Time of Your Life." I'm sure The Sharks would be pissed to read that comparison, but to hell with them. As far as I know, The Sharks don't actually exist. Prove me wrong…

All in all, I really enjoy this EP. It may not sound like a bag of cats being repeatedly struck by another bag of cats, although I do distinctly remember hearing a few cat-shrills… OH NO! MITTENS! It varies in it's influences, the duo have great song-writing ability and are pretty flexible in their styles. You can check it out (and 2 other EPs) yourself on Bandcamp where it is available via download. The Sharks faithfully use a free or pay-what-you-want method for distributing their work, which I fully support. I highly recommend you give them a few dollars for their work if you enjoy this EP and hope to hear from them again. (It would also be nice if they could pay someone to put together a website for them and provide some SEO implementations.)

Until my next review, waveriders, in which I promise not to mention suicide (more than once). Hope your holidays were merry and bright, and I'll see you in 2012.

--Slaphappy Mortician

http://thesharks.co/album/everybody-just-rapes-me

<p>&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;a href="http://thesharks.co/album/everybody-just-rapes-me"&amp;amp;amp;amp;amp;amp;gt;Everybody Just Rapes Me by The Sharks&amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;</p>

Stratovarius - Intermission

2012-01-21T12:49:00.000-08:00

“I’ll take Metal Bands for one thousand,” The card slipped away and there it was, “Daily Double!” Alex Trebek said, “You have $5,100, Frank, how much do you wish to wager?” I thought for a moment. I was behind the leading contestant by $4,800 and time was running out. “Hell. it’s not like it’s my money. I’ve got nothing if I lose. Metal bands, hmmm, should be easy for an old metalhead,” so I exclaimed, “All of it, Alex.”

Trebek raised his eyebrows, cocked his head to the right, raised the frequency of his voice and responded, “Alright, for $10,200 or nothing Frank - Its name was derived from a cross between the name of a violin maker and that of a Fender guitar. In 2001 this Finnish band disbanded for two years after they released an album entitled ‘Intermission’.”

I was stunned. Could it be that Alex just asked me a question about a band from Finland? Wait, what is this stuff about a violin maker? Damn, I don’t know any violin makers. Fender guitars? WTF? Let’s see, they make Telecasters and . . .” Alex interrupted my train of thought, “10 seconds.”

My mind raced and drifted. “Finnish metal bands. Battlelore? No, what has that got to do with violins? Hanoi Rocks? Still no violin connection. Shaked Booze? Oh, come on, I mused. I’d like some right now but that is not the answer. . .” Then Trebek announced, “five seconds.”

His voice hit me like a switch and I went back to Fenders. “Let’s see. Telecaster, Jaguar, Stratocaster . . . Wait, Stratocaster, wasn’t there a great Italian violin maker called, uh, uh . . .” As the buzzer went off I blurted out, “Stradivarius.” Trebek raised one eyebrow and looked over his reading glasses directly at me, turned to the orchestra pit and said, “Judges?” After a second or two of silence I saw the nod and Trebek said, “You are correct Frank, Stratovarius. You now have $10,200.” A bell went off and Trebek looked directly at the camera, “That is the end of this round. We will be right back with Final Jeopardy.” A stagehand exclaimed “3 . . . 2 . . . 1 and we’re out.”

We had about three minutes before Final Jeopardy. Irja, a statuesque Scandinavian blonde with blue eyes, contestant number 2, turned to me and whispered with a sensuous Finnish accent, “I am surprised you know of Stratovarius. Intermission is quite an unusual album don’t you think? It is a collection of B-sides, bonus tracks and five unreleased tracks made during their prior eight albums. Yet it contains some of the best power metal and symphonic metal pieces you will ever hear. They cover Judas Priest’s ‘Bloodstone’ and two Rainbow numbers, ‘Kill The King’ and ‘I Surrender.’ After the show would you like to come listen with me? I’m staying at the Hilton across the street.”

Trebek rudely interrupted before I could say a word to her. “This is Final Jeopardy. The Final Jeopardy category is ‘Money’. Contestants please make your final wagers.” He again looked at the camera, “We will be back with Final Jeopardy right after these messages. The stagehand began his countdown and we were off to commercial. I thought, “‘Money’ could be anything. If I bet all $10,200 and I’m wrong I’ll lose completely unless everyone else does the same thing. I don’t have enough to sit pat because contestant number 1, Lars, is only a few hundred dollars behind me. Hell, go for it.” I bet it all.

Irja turned to me and said, “Well, Frank, my place for some Stratovarius after the show?” Before I could answer Trebek again intervened, “We’re back. And the Final Jeopardy answer is ‘Before it used the euro its monetary unit was the “markka”.’”

All I could think of was Irja’s intimate Stratovarius metal listening party invitation. I had never heard of the “markka.” I wrote down my answer in the form of a question just as the buzzer sounded.

Trebek repeated the answer and called on Lars to show his card, “What is Finland? Correct and how much did you wager. Lars turned over his card, “$300. That puts Lars in the lead with $10,300. Irja did you get Finland? Irja turned over her card and there it was. “What is Finland? Correct. What did you wager? $8,000, all of it. That puts you in the lead with $16,000.

Trebek then turned to me and asked, “Frank, you said . . .” I turned over my card. Trebek read, “Irja, what is your room number?”

- Old School

Grifter Hailed for one of the Best Albums of 2011 with sights on leading the Heavy Rock Resurrection into 2012!

2012-01-21T12:25:00.000-08:00

It’s been hailed as one of the best albums of 2011. Not by one or two, but by several of the biggest hard rock websites in the world. The Soda Shop. The Obelisk. The Ripple Effect. Heavy Planet. Chybucca Sounds. Sonic Abuse and more. Captain Zen Beyond has called them "the best classic rock band around" and the album "brilliant without any weak points." Classic Rock Magazine saw their brand of hard-driving rock to be fitting enough for one of their cover-mounted compilation CD's. In 2011, Grifter took the hard-rock scene by storm with their new self-titled album of gritty, blues-based biker rock.

Now the world is taking notice! Hot on the heels of Metal Hammer's proclamation that Grifter "will rock your ass ragged with change to spare!" 2012 is looking to build upon the tremendous groundswell developing around Grifter and the “rising from the underground” resurrection of hard-driving rock n' roll.

As Grifter mainman, Ollie Stygall, puts it, “As for 2012. Obviously we have the Orange Goblin tour which is pretty major for us. We've officially been confirmed for the Desertfest festival that takes place in London from April 6th-8th in 3 venues across Camen and features bands such as Orange Goblin, Roadsaw, Black Pyramid, Leafhound, Truckfighters, Valiant Thorr, Gentlemans Pistols, Church Of Misery...etc.

“In May we head to the European mainland for the first time to play the Freak Valley Festival in Netphen, Germany alongside bands such as Colour Haze, Gentlemans Pistols, My Sleeping Karma. We're also working on other European dates to coincide with this. And getting to work on the next album of course."

The eleven track album Grifter is the band's first full-length effort with Hard Rock specialty Label, Ripple Music, however, Grifter’s unique one-foot-in-the-gutter, Harley-rock first appeared on the Ripple roster with their dual contribution to the Heavy Ripples, Vol. 1 compilation released 2011 with the band contributing two barnstorming, high-octane rock classics!

Read the intense reaction to Grifter’s self-titled debut and check out the “Best of” lists for yourself.

http://chybuccasounds.com/2011/12/22/the-top-50-albums-of-2011-25-1/
http://thesodashop.wordpress.com/2011/12/18/top-20-of-2011-jakes-picks/
http://thesodashop.wordpress.com/2011/12/08/top-20-of-2011-bills-picks/
http://www.sonicabuse.com/2011/12/sonicabuses-best-records-of-2011/
http://theobelisk.net/obelisk/2011/12/09/top20of2011/
http://www.steamingheathen.com/delusion/2011/12/21/bands-that-caught-my-attention-in-2011/
http://www.thesleepingshaman.com/reviews/articles/the-shamans-top-10-albums-of-2011/
http://abriefhistoryofmetal.blogspot.com/2011/12/good-bad-ugly-2011.html
http://www.heavyplanet.net/2012/01/regs-top-20-albums-of-2011.html

The album and Heavy Ripples Compilation double 7" are both available now at the Ripple Music Store, Amazon, CD Baby, eBay, and world-wide through Clearspot International in Europe, Code 7 Distribution in the UK, and soon available throughout North America through Ripple’s exclusive partnership with Nail Distribution.

RIPPLE MUSIC STORE

The Muppets Original Motion Picture Soundtrack

2012-01-21T00:06:00.000-08:00

Are you green with envy? After all, there’s nothing wrong with being green. Muppet Mania is back! Finally, The Muppets have reemerged in the limelight thanks largely due to Jason Segel and his memorable sad rendition of “The Muppets Show Theme Song” in Forgetting Sarah Marshall. Due to the success of Forgetting Sarah Marshall and Segel’s passion about The Muppets, Disney approached Segel to revamp, resuscitate and revive an awesome franchise. Along with collaborator Nicholas Stoller, Bret McKenzie (Flight of the Conchords) and director James Bobin, The Muppets have been brought back in great style.

Ever since I can remember, I have watched The Muppets. Although I wasn’t old enough when The Muppet Show premiered I was practically raised on The Muppets because of their films (The Muppet Movie, The Great Muppet Caper, The Muppets Take Manhattan, etc.). Even the animated series The Muppet Babies thoroughly entertained me during my childhood. When I got older I worked alongside an Emmy-award winning artist, Scott Shaw!, who worked on many prestigious characters like The Simpsons, The Flintstones, and Scooby Doo, but I was most excited to learn he worked on The Muppet Babies. Upon learning this in his studio I said, “Scott, thanks for making my childhood so awesome. You worked on so many cool shows and comics that profoundly shaped my life.”

Without saying, even more admiration goes to the late, great Jim Henson for creating some of the most iconic characters ever with Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo and the rest of The Muppets. Not only did The Muppets have an impact on my life, but the rest of the Jim Henson Company too. Whether it was TV series like Dinosaurs (“Not the mama!”) and Fraggle Rock or films like The Dark Crystal and Labyrinth, The Jim Henson Company and The Muppets have always had a huge influence on my life.

Like most children of the 1970s and 1980s, The Muppets shaped our childhood humor. When ABC brought back The Muppets to television with The Muppets Tonight in 1996, it was a pleasure watching each episode every week. I vividly remembering seeing the Prince episode and saying, “Now I can finally say I saw a Muppets show that is not a re-run.” During the 1990s, after Jim Henson’s death, the quality of The Muppets waned and was never up to par during their peak days. Prior to The Muppets (2011), the last theatrically released film was Muppets From Space (1999).

Prior to the franchise being brought back, most children had no clue who Miss Piggy or even Kermit the Frog were and I couldn’t believe it. Luckily, the critically acclaimed film The Muppets has changed all that and is now one of my favorite Muppet movies of all time. Thank you, Jason Segel for writing and creating a modern-day masterpiece. From seeing it opening day at the El Capitan Theatre and with each subsequent screening, The Muppets movie has brought me tears of joy. Now I have no problem admitting that because it’s truly an almost perfect film and what Muppet movies should be: good old fashioned wholesome fun for the entire family.

I just realized I have yet to mention the actual Muppets Soundtrack. If I didn’t stop myself now I probably would be discussing who my favorite band member in Dr. Teeth and the Electric Mayhem is (it’s Animal in case anyone is wondering with Janice a very close second). Initially, I thought Jason Segel had a large part with the original songs since he created the memorable songs from Forgetting Sarah Marshall and Get Him To The Greek with the fictional musicians Aldous Snow and Jackie Q. When I checked the liner notes, the music and lyrics was primarily composed by music supervisor Bret McKenzie, one half of the Grammy-award winning duo Flight of the Conchords (FOTC). Bret McKenzie along with Jeannie Lurie, Paul Roemen, and Ali (Dee) Theodore created some instant Muppet musical classics.

The Muppets Original Soundtrack opens up with Jim Henson’s “The Muppet Show Theme” and let me say this, much like wine, it gets better with age. When I first purchased the soundtrack I probably played the Theme Song four or five times because I was overwhelmed with excitement and didn’t want it to end. Needless to say I felt ridiculous with the repeat button on, but in a good way as in ridiculously happy. The only difference between the original and the new film version is during Statler and Waldorf’s interruption, they interject to say, “I always dreamed we’d be back here/Dreams? Those were nightmares/ Ho ho ho” before the theme song concludes shortly thereafter. From beginning to end I had a gigantic smile.

Like most modern day soundtracks, this album is filled with plenty of film clips, which act like bumpers between and after the 15 songs on the soundtrack. The clips range anywhere from a few seconds to almost 30 seconds, with most falling in the category of the former. Still, each movie quote is quite enjoyable and brings you back to the movie.

Track number three, “Life’s A Happy Song,” is the first original composition and immediately brings a smile to my face with every listen. Honestly, there hasn’t been a time this song has been played that I haven’t had tears of joy. Classically crafted, this delightful song features Jason Segel, Amy Adams and the newest Muppet, Walter, singing lead vocals plus some surprise appearances. Everything is irresistible about this song and there is no way you can’t possess a smile while listening to this terrific tune.

“Everything is great, everything is grand/ I’ve got the whole wide world in the palm of my hand/ Everything is perfect, it’s falling into place/ I can’t seem to wipe this smile off my face” and like the last few words state, neither can I. Whether you call it kid-friendly, a show-tune or whatever, it’s undeniable what Bret McKenzie has created, a new Muppet classic standard. Since I first heard the song in the movie and bought the soundtrack I absolutely can’t stop singing it. “Life’s A Happy Song” captivates the eternal optimist in me and all I can do is sing along.

The next song is “Pictures In My Head,” which has Kermit singing lead vocals before being joined by Fozzie, Gonzo, Swedish Chef, and Dr. Teeth and the Electric Mayhem (Janice, Zoot, Sgt. Floyd Pepper and Animal). This sad song starts off slow with Kermit remembering the fond times he had with The Muppets before progressing to a harder rock sound. Dr. Teeth joins in the vocals, “This staccato tune is posolutely most transparently bringin’ me down, 1, 2 and a half…” and then the Electric Mayhem joins in with their instrumentation. After Dr. Teeth’s comments, all the aforementioned Muppets join in and sing this adorable song.

Two of the next three songs are classics with Paul Simon’s “Me and Julio Down By the Schoolyard” and Jefferson Starship’s “We Built This City.” The other song is an alternative version of Paul William’s Muppet classic “Rainbow Connection.” This version featured after “Me and Julio Down By the Schoolyard” is the Moopets’ version and contains entirely different lyrics set to the music of “Rainbow Connection.” It makes references to the current casino Fozzie Bear works at with his new band Fozzie and The Moopets. The song is pretty entertaining to say the least and will make you laugh. In the movie, a very cool drummer makes a cameo as The Moopets’ version of Animal (Hint: One of his band’s songs is on the soundtrack as well).

When I first heard the song “Me Party,” which is sung by Amy Adams and Miss Piggy, it immediately feels like a Flight of the Conchords’ song. Just the silliness and overall fun feel fits perfectly here. Amy Adams showcases her beautiful voice once again (much like Julie Andrews) and I can’t state this enough, Amy Adams amazing voice is a gift we don’t hear enough. The next original song is the rap “Let’s Talk About Me” with Chris Cooper on lead vocals. Much like “Me Party,” I immediately could tell this had a FOTC feel to it and this is an extended version not heard/seen in the film. This cut has additional lyrics and vocals from Nathan Pacheco during the Flashback Bridge of the song. The songs rhyming scheme and style are reminiscent of the FOTC’s “Hiphopopotamus Vs. Rhymenoceros.”

Besides, “Life’s A Happy Song,” my other favorite song is “Man or Muppet,” which is a duet between Jason Segel and Walter. The arrangement on this song with the piano and dueling vocals is superb. I thoroughly enjoy the chorus “Am I a Man or am I a Muppet? (Am I a Muppet)/ If I’m a Muppet then I’m a very manly Muppet (Very Manly Muppet)/ Am I a Muppet? (Muppet?) or am I a Man? (Man?)/ If I’m a Man that makes me a Muppet of a Man (A Muppet of a Man).” For those who have seen the film, this song is unbelievably cool and even more entertaining within the context of the movie.

The next two musical tracks are covers songs. The first one is Nirvana’s “Smells Like Teen Spirit” performed by The Muppet Barbershop Quartet comprised of Rowlf, Beaker, Link Hogthrob and Sam the Eagle. Now I believe Nirvana has been played to death, but this rendition is too funny to pass up. Beaker definitely makes this song memorable. After a brief Kermit intro, Cee Lo Green and Bruno Mar’s Grammy award-winning song “Forget You” is covered by Camilla and The Chickens. Although laughable, this song somehow keeps your attention for its entire length even though it’s only chicken’s clucking the lyrics. Only The Muppets could get away with this.

Originally performed in The Muppet Movie by Kermit, “Rainbow Connection” is a song that has become synonymous with The Muppets and The Jim Henson Company. This popular song penned by Paul Williams and Kenneth Ascher has become a Muppet staple. With a banjo by his side, Kermit the Frog and The Muppets bring tears to your eyes and it’s hard not to possess a big smile after hearing this sweet, soulful song.

Andrew Bird’s “The Whistling Caruso” follows and is a song entirely composed of whistling for over a minute. “Life’s A Happy Song Finale” follows and has Miss Piggy, Kermit and The Muppets taking over lead vocals with Jason Segel, Amy Adams and Walter providing backing vocals. For the most part, it’s almost identical to the first “Life’s A Happy Song.” However, The Muppets’ cast breaks the fourth wall notifying viewers the movie is almost over and reminds listeners that they “keep giving the world the third greatest gift (laughter).” Even the character Tex Richman (played by Chris Cooper) sings, “Will you please stop singing, you’ve already sung this song” and you can’t help but laugh even further. The Muppets truly have given the world the third greatest gift, laughter, repeatedly over the past several decades and hopefully we don’t forget that.

Spoiler alert, the second to last track, which is an audio clip from the film gives away part of the film and is worth skipping if you haven’t seen the film. The soundtrack concludes with Piero Umilani’s “Man Na Mah Na” sung by Mahna Mahna and The Two Snowths and is the perfect book end to this great motion picture soundtrack.

NOTE: For anyone interested in The Green Album, it’s an entirely different Muppets album that was released in 2011. The Green Album is full of Muppet song covers by various artists like Ok Go, Weezer, Hayley Williams of Paramore, The Fray, Alkaline Trio, My Morning Jacket, Amy Lee, Sondre Lerche, The Airborne Toxic Event, Brandon Saller of Atreyu, Billy Martin, Andrew Bird, Matt Nathanson and Rachel Yamagata. This album includes the new “Muppet Show Theme Song” by Ok Go along with covers of “Rainbow Connection,” “Being Green,” etc. Both albums are definitely worth owning if you consider yourself a big Muppets fan. Go discover and/or rediscover the wonderful Muppets with these two awesome albums.

--Mr. Brownstone

Coleman Hawkins - Night Hawk

2012-01-20T12:30:00.000-08:00

Released on jazz label Prestige's "Swingville" imprint (allegedly even more composed of hastily-assembled blowing sessions, which were then scalped to junkie jazz musicians looking to make a quick buck, than were Prestige's other releases), Night Hawk is a blowing session between --duh-- the Hawk/ Bean and Lockjaw.

But man-- it is fun.

You know the great thing about music? I mean, I suppose, one of the great things?

It doesn't wear out.

Ever, pretty much.

I'm sorry, I'm being vague:

Think of your favorite shirt, or shoes, or pants, or whatever.

Knowing what you know now, don't you wish that you knew how awesome those Pumas, or Nikes, or American Apparel or Gap jeans or whatever, would be when you bought them? If you'd known they'd be the thing you wore after work every day for like 5 years, wouldn't you have bought 5 of them?

Night Hawk is like that shirt and jeans and shoes all in one. Except it's still brand new, and undecayed!

I know every goddamn note of this fucker the same way I know what my favorite Pumas, American Apparel and Wal-mart jeans feels like.

It's two tenor pros --one Eldritch, one newer but unafraid of the Old One-- fucking with each other, and laughing while they do.

From a jazz/tenor nerd's standpoint, it's wonderfully disparate and fascinating because both of the featured players have similar sounds-- a metal mouthpiece with a fairly-pliable reed, resulting in a sometimes-harsh-always-bright sound. It's awesomely intellectually and viscerally entertaining the way they still sound so different, when their "setups"' are so obviously similar.

"Night Hawk" and "In a Mello Tone" (the second-most played song on my iTunes ever) are highlights, but as I usually refrain, they're all good tracks: they display clearly (and nearly assuredly spontaneously) two clever, articulate tenor players enjoying and being stimulated by each others' company.

--Horn

Teddy Edwards Quartet - Sunset Eyes Complete Recordings

2012-01-20T00:20:00.000-08:00

I play tenor sax ["Horn" is a metal AND jazz reference! Gettit?], and I like to study the whole sound of the instrument, no matter how seemingly abstruse. Were you studying tenor sax at Berklee or some shit, Teddy Edwards would only barely show up in the 400 or above sections... He's a footnote.

Don't get me wrong. He's very cool. I dig him. I mean, shit-- he's on this page, isn't he?

But. Still. If you listen to a lot of jazz, or play sax, or both, or whatever--

--you'll appreciate his approach. Similar to Gordon or Wardell Gray: definitely west coast jazz, but still, cooly different. And surprisingly distinct and fully formed from someone who's not that well known.

If you don't love getting very dorky/anal with your interpretations of tenor sounds sounds....

If you don't like to parse subtle differences in mouthpiece, reed and source of recording area....

If you are not pretentious as hell....

this review is probably not for you.

But you just dig swinging tunes and wanna rap about some old records-- Horn's here to help.

Ha-- alliteration. That sounds funny when you say it out loud. There's three "H" sounds.

What... were we talking about...?

Right! The review!

The newest version of Teddy Edwards' Sunset Eyes is actually two albums combined: the original Sunset Eyes, as released, and then, from the same session but at the time deemed unreleasable, Teddy's Ready.

They're west coast hard bop-- "cool bop?" Recorded in Hollywood between 1958 and 1960.

Specific track analness:

Consists of several other sessions actually, not mere the two shown above; two CDs, each with 13 tracks.

What amounts to the west coast hard bop scene culminates in Edwards' (and band's) style: it's aggressive without being bitter, roaring without posturing. It's a natural athleticism coming across in energy and enthusiasm, seemingly untainted by pessimism (unlike, I would argue, East Coast hard bop is/was).

It's consistently clever and fun to listen to: they find new, often impish ways around old chord changes; they play with the enthusiasm of new, young players, but with all the empathy and innovation of the seasoned musicians they are.

Usually when I hear albums this hard to find (in the internet age, anyway), there's usually a good reason. They're usually third-, fifth- or tenth tier artists justifiably.

But here, listening to these guys jam, I feel amazed that they were passed over for the most part by jazz history. They're really quite good, and distinct from other players, even today. I don't get why I've been playing tenor for years, but only recently heard Edwards' name.

It reminds me, though to a greater degree, of Hank Mobley's situation. Even their tenor tone is similar: Edwards uses what is probably a Brilhart Ebolin mouthpiece with a moderately-heavy reed to get a Mobley-esque sound (i.e., "round," i.e., not having any particular aspect of the tone stand out-- no high highs, no fat lows in particular): and from there projects an inventive lyricism with a more hefty projection and speed than Mobley, who is to me more laid back in his execution.

CD 2 includes a sweet take of "Take the A Train," the Strayhorn standard, and "Higgins' Hideaway" has a very cool upward slide at 0:58 and again at 1:28.

They're all fun tracks. Pick anything with "Blues" in the title and you'll probably do well.

--Horn

Teddy Edwards 6tet - Afraid Of Love - Jazz Scene... by Delta_Mike

Ice Dragon - The Burl, the Earth, the Aether

2012-01-19T11:37:00.000-08:00

Ice Dragon’s debut The Burl, The Earth, The Aether has been compared by many to Black Sabbath’s self titled and Electric Wizard’s Dopethrone, and it’s really not hard to see why. Taking many cues from the titans that preceded them, Ice Dragon weaves a solid, dynamic album that is dismally bleak and oppressively heavy, all the while retaining a spaced out atmosphere. The album as a whole flows and progresses really well; the pace is staggered with crescendos and dotted with dynamic changes in both riffs and tone which moves the album along and a lumbering jaunt, and creates additionally heavy vibes with that contrast.

So many of the elements at play here come together to forge and exceptionally gloomy record. The synth sounds on this album are absolutely incredible and stand out without being cheesy or redundant. Rather than riffing along, it is used to provide ambiance and atmosphere, and adds much needed additional depth and texture. Likewise, the low-fi production gives additionally haunting vibes and lends itself greatly to the fuzzed out tone of the guitar.

All of the elements that I love on this album present themselves in full force on the track “Hexagon Riders”, which is featured below. The song immediately accelerates into an insanely catchy and heavy riff, keeping pace throughout the song and building all the way to the end. This song is groovy as hell, and will undoubtedly mesmerize you into headbanging along. Other killer songs include “Spellpouch”, a meandering beast who’s song structure mimics its lyrical content by periodically roaring to life, and “Aquageddon”, a titanic track that sounds as if the entire world were drowning.

In short, if you like Black Sabbath and Electric Wizard you will most certainly like what Ice Dragon has to offer. Good riffs, killer Ozzy-esque vocals, ample fuzz and cool atmosphere will likely keep you coming back for more.

-- Ahab

<a href="http://icedragon.bandcamp.com/album/the-burl-the-earth-the-aether">The Burl, The Earth, The Aether by Ice Dragon</a>

Heavy Pink - 7"

2012-01-19T00:26:00.000-08:00

Normally I'd review a 7" single with a few others but given that it's a new solo project from Stone Axe/Mos Generator main man Tony Reed and released on JJ Koczan's label Maple Forum it warrants a few more words than normal. Also, I haven't bought any other 7" singles lately. I came close to picking up a reissue of Adrenalin O.D.'s "Lets Barbecue" single at Black Gold Records in Brooklyn but opted for a used Enoch Light LP that was a lot cheaper. 10 years ago the prices on those two records would have been the exact opposite.

The first thing I thought of when I heard that Tony was putting a solo single out under the name HeavyPink was of the old Detroit band Frijid Pink and how I need to finally get their first album. The second thing I thought was I needed to get the HeavyPink 7" pronto. JJ was nice enough to deliver a copy of the record when he came to see Cortez and Mighty High at Hank's Saloon in Brooklyn. He put it on the band merch table but I was the only customer. Later that night 3 or 4 people saw me holding the record and were like "what's that? New shit from Tony of Stone Axe? Where'd you get that?" You snooze, you lose but there are still copies left and you should order one.

"Flower and Song" is slow and heavy but not really in the metal realm. There are definite elements from the first King Crimson album but also the pulverizing grind of vintage Celtic Frost. There are also some excellent "Black Sabbath" tolling bells. Not sure if this is totally accurate, but it kind of reminds me if the Swans had a more traditional hard rock approach. Intriguing stuff. Flip the record over for "There Is A Light" and it gets a bit heavier. A killer "Into The Void" style riff sits underneath a chiming "Welcome To The Machine" riff and then makes room for some nice "Hotel California" guitar harmonies. When the vocals come in, they are suitably trippy and chanty. The lyrics "you bring the light…show me the way" probably contain a deeper meaning than asking someone to bring a lighter over when Frampton's on the stereo. The single comes with a download card that contains an extra song called "Long Live The Mellotron." It sounds exactly like you think it does - a mellotron orgy of glorious sound.

Hopefully there's a double album in the works because I'm ready for a lot more of this.

--Woody

sample: http://theobelisk.net/obelisk/2011/11/22/88heavypinkleft/

and don't miss your chance to pick up one of the few remaining copies of the Stone Axe/Mighty High split 7" on Ripple Music

Beer Corpse - Keg Nuts

2012-01-18T08:13:00.000-08:00

Beer Corpse - Keg Nuts

I know what you’re thinking. You read that band name and thought ‘I’m one hundred percent positive these guys play ultra-melodic power ballads’. Well I hate to break it to you waveriders, but Beer Corpse is actually a grindcore outfit. I know?! I was shocked too! Thankfully I was able to quickly dismiss my melodious hopes and dreams and get down and dirty with this band’s glorious grind.

Here’s what little I know about Beer Corpse. They are from Sydney, Australia. It appears that the band is made up of five people (Mac: Chunders Phipps: Six Packs Olli:Yeesty Bottom End Brent: Beer Blasts). Also…and I could be wrong on this point, but I believe they like beer. What else have I learned? That the ten songs offered up on Keg Nuts should only be listened to inside a safe, padded environment. Involuntary flailing produced among listeners like myself can pose a serious health hazard to anyone unlucky enough to be in the vicinity, and I simply can’t have that on my conscience waveriders.

There are a couple of reasons why Beer Corpse stands out in my mind against other grindcore outfits I’ve become familiar with of late. First of all the combined sound of the distorted guitar and bass strongly reminds me of The Misfits. Secondly, unlike most other grindcore groups who only play at warp speed, this band regularly slow things down ever so slightly to establish a massive hardcore-like groove. Third, the vocals take a back seat in the sonic mix to the instruments allowing me to completely focus in on the dirty riffs and aforementioned groove. Thanks to the production anyone specifically listening for the vocals will never lose track of every guttural growl, but anyone not interested can simply pretend they’re not there. In my opinion this will allow more people to enjoy these songs, and I’m all for that!

So, do you like grindcore music? Do you like The Misfits? Do you like music that will confuse your nervous system to the point where you cannot explain the movements of your arms and legs? Seek out a copy of Beer Corpse’s Keg Nuts, put up some protective padding where you will listen to the music, and go nuts!

The Izzys - Keep Your Powder Dry

Question. Do you like your rock and roll with a healthy dose of country music? On the flip side do you enjoy your country music when it incorporates some classic rock and roll elements? You do? That’s good to hear because I’ve just discovered a band that you must hear for yourselves named The Izzys. Armed with their latest EP entitled Keep Your Powder Dry, they are ready and willing to rock your musical world! Interested? I thought so. Let’s fill in some of the details, shall we?

The Izzys call Brooklyn, New York home. The group is made up of four musicians (Mike Storey - Lead Vocals + Guitar; Jack Dawson - Guitar; Aaron Redlin - Electric Bass; Tim Kuhl- Drums + Percussion). It turns out The Izzys have been making music for quite some time now unbeknownst to this sheltered reviewer. Their first album was released back in 2003. Since then they have released two more full lengths and three EPs or singles. While I intend on exploring this rich vein of music in the future, let’s focus our attention on Keep Your Powder Dry right now.

When I am listening to this EP a couple of descriptors always come to mind. Warm is one, and wholesome is the other. While I don’t actually know how this music was recorded, I have to say that it sounds as if the task was accomplished with vintage equipment. To put it mildly, it sounds fantastic! I’m listening to this music digitally but honestly, if you put a blindfold on me, I might tell you I was listening to a vinyl record. The music sounds like an old friend. One you haven’t seen in a while but always welcomes you with open arms and good conversation.

Have I mentioned that each band member’s performance on this EP is terrific? No? Well I have now! Each instrument works in perfect unison to create wonderfully memorable melodies that will instantly get stuck in your head. The dual guitars harmoniously complement each other throughout and the rhythm section perfectly sets the stage for each song, no matter if we’re talking about an uptempo boogie number or a wistful ballad. Mr. Storey’s vocals also help draw the listener in with an air of familiarity. For the most part he sounds like a cross between Tom Petty and Bob Dylan, but in more delicate moments I hear a lot of John Lennon. Bottom line, it all sounds good!

Waveriders, I strongly urge you to check out The Izzys. If you’re a fan of old school rock and roll who enjoys their music with a strong southern twang, or if you’re a country music fan who enjoys songs with a little more pep to their step then this band will absolutely blow you away! Now if you’ll excuse me, I need to find some money in order to buy those earlier releases. Wait a second…you can download most of them (including Keep Your Powder Dry) for free on bandcamp?!?! Oh my goodness! Waveriders there is no excuse. Get to listening right now!

Get Here Free- http://theizzys.bandcamp.com/album/keep-your-powder-dry

--Penfold

Sahara Surfers - Sonar Pilot

2012-01-17T00:16:00.000-08:00

An emotional female voice layered over heavy rock music really does it for me. It always has. So I was feeling more than a little coolaphonic when I downloaded and listened to the latest offering from the Austrian stoner/psych band, Sahara Surfers. I got their debut full-length not long after that.

I'm so stoked I got Sonar Pilot, released late last year. It's hella swick (sweet + sick). I'd say the tunage is Kyuss and Fu Manchu-inspired and the vocals remind me of Drain STH (remember them?). A lot of the album can be kinda chillaxin', too.

The riffs on the opening instrumental, "Intro", take me out to the impact zone, where I catch a gnarly swell and rise up to feel the wind and sun on my face. I'm hanging-ten to the tasty grooves - cruisin' - and it's happy days again. I know this is gonna be mad, 'cause the waves are juicy and heavy, brah. I'm going deep.

"Underline" can be punishing, and I feel like I'm in the pocket, or the steepest and most powerful part of the wave, just hoping I don't get stuffed and rag-dolled. I still get pounded by some pumping sets, though. Am I still alive? You betcha, I'm no poser.

Sahara Surfers give a solid performance throughout this record, but I think "Mass Crashing" is another righteous tune with a killer stoner-rock knockout punch. Friggin' stellar.

The nice, solid nugg, "Fold Over", is a little more mellow during the first half, but later gives way to to plenty of fuzz. The riffs get hugangus (very, very big) and slammin'.

I really don't think I should have to go through each of the 9 songs to get my point across, but the title track and "Aenor" also stand out as mondo moments to me. I think they're a couple more spiffy fuzz/psych masterpieces. So tight.

Today, I've given a few more listens to Sonar Pilot and I'm full-on noodled. Right-on, dude and dudettes! This is a free, rad party wave we can all catch. Get some!

You can download Sonar Pilot here http://www.soundzero.net/sahara_surfers_sonar_pilot.zip.

If you want to buy a physical copy, hit the Sound Zero link below. There you can also download a free digital copy of the Sahara Surfers' debut, Space Trip On A Paper Plane, if you don't already have it.

--Heddbuzz

http://www.soundzero.net/

Syven – Aikaintaite

2012-01-16T12:34:00.000-08:00

There are a number of ways people use to “get back to nature”. Some grab some camping gear and pitch a tent in the middle of a forest for a few days. Some strap on a back pack and hike amongst the indigenous flora and fauna. And some, well . . . some commune in the great outdoors by themselves or a very small group and strum the kantele and chant to the stars. The latter example may be a little on the extreme side of things or a overly simplistic explanation of what Syven are all about, but sometimes it’s best to dumb things down for the masses to make a subject more understandable. That’s not to say that the average Waverider needs anything simplified, but this writer kinda’ does. This is me with a shovel digging myself deeper. On to the record!

Syven’s Aikaintaite album is a grandiose, spectacular, epic journey into the backlands of one’s mind and all set to tribal thrum of primordial rhythms and chants. The music is anchored by the traditional Finnish string instrument called the kantele and supported by ambient waves of synths, thundering rhythms, the occasional electrical guitar, and all enhanced by a variety of vocalizations ranging from mournful wails, tribal chants, and guttural growls. Mix all of these wondrous sounds together and embrace a uniform sound as haunting as the wind howling through the trees of a forest and as serene as a crisp breeze across the surface of a mountain lake.

“Jaljet” is a mesmerizing, near twenty-minute journey into sonic exploration that mixes huge ambient swells complete with chirping birds and various sounds from woodland creatures, even a little trickling stream for good measure. The synths cast a drapery of weight over the entire landscape and the shamanistic vocals chants leave one feeling as if their witnessing the world come alive with the rising of the morning sun. The overall tone has a somber feel, but never depressive. More akin to realizing how inferior and mortal we are as a species in comparison to the grandness of Mother Nature. Around the four minute mark, the rhythms become a little heavier, the electric guitars a little louder, the guttural chants more ominous, and the plucking strings of the kantele more plaintive, ultimately, the music creates a vibe like the sound of the earth’s own heart pumping life into her subjects. Heady and intoxicating, the pulsating rhythms have a tribal intensity as if there’s a story within the tone of each drum beat. The dynamic breaks to this song keep it fresh and flowing, especially welcome is the serene sounds of the kantele between the crushing rhythms.

“Ne Jotka Selviavat Talvestamme” is another 18 minute-plus atmospheric sonic journey filled with dynamic breaks. Huge swells of vocals crooning and chants mixed with sheer walls of distorted guitars and the complex touches of the kantele. This stuff is truly amazing to get lost in. Like shifting desert sands, like windswept mountains, like the rolling ocean tides, like the cascading leaves of seasonal change, this music is in constant flux, yet rooted to the core themes, much like the sands and mountains and seas are rooted to the earth. Always challenging the listener to follow the musical path laid out in front of them, but simple enough to follow because the markers along said path are so clearly designated. It’s a beautiful song. A timeless song.

Aikaintaite is, in a word, gorgeous. The textures that Syven use to create the lush atmospheric passages is stuff of legend. Take patience in listening to this album, things don’t happen fast, but when that certain something hits you, it hiys you good and hard, and leaves a lasting impression. The album could easily fall into the New Age category because of its ambient and shamanistic chanting, and even the heavy guitar portions wouldn’t take away from that. The term bandied about these days is Neo-Folk and that seems to work as well as anything else. The album will appeal to you if you’re the type of person who likes ambient music, or if you like to get baked and walk through nature. In fact, next time I do a day hike or find myself in the mountains, I’ll probably spin this disc as I take a short breather. Then again, listening to nature’s own music is a soundtrack unto itself and I probably wouldn’t ruin that. Nonetheless, Aikaintaite is a brilliantly realized record and I’m thankful I took the time to listen to this one when it came across the promo wire.

Pope

http://koti.mbnet.fi/atolonen/syven/intro.html

Hard Rocking - Featuring Lonely Kamel, Kamchatka, Ape Machine and Suede Brothers

2012-01-16T00:46:00.000-08:00

Time to catch up with some discs that have been sitting way too long in the Ripple office. This happens sometimes, damn it. Some discs are just so good they take forever to write up. I don't want them out of my car. I want to listen, listen, listen. Then, next thing you know, a whole decade has passed and I still haven't written it up. Time to set that right.

Lonely Kamel - Blues for the Dead

Hailing from Oslo Norway Lonely Kamel is a band that does the hard edged, classic rock and blues sound from the early 70's right. Massively deep, solid grooves, catchy hooks and instantly catchy melodies. Released in 2010, (they have a new album out right now) Blues for the Dead mixes a spice cabinet full of Zeppelin, Hendrix, and Sabbath into some mighty fine retro-groove rock.

"A Tale of a Madman" is as heavy and frightening you'd hope. "Green Eyed Woman" is a full on, Hendrix corker. "Wasted Time" (one of my favorite cuts) rumbles and rolls upon the spine of some freaky bass work before exploding in an orgy of killer guitar and riffs. "Stick with Your Plan" lays down some thunderous doom, while "Lady Mushroom" heads down the psychedelic Hendrix highway that you'd expect by the title. And what a fucking chorus!

I only got this album last year, so it couldn't make my Top 10 list for 2011, but damn, if I'd heard this in 2010, it woulda been there. Seriously killer stuff all the way through.

Kamchatka - Bury Your Roots

I'm not unbiased. I'm not a dispassionate, removed critic. I love music and love writing about the music I love. And I love Kamchatka.

Their last album III jumped into my Top 10 list the year it was released, and Bury Your Roots followed like a laser shot, aiming right into my Top 10 for 2011.

Kamchatka play hyped up, retro-blues, fuzzed out 70's rock like so many bands these days, but everything they do is just one step beyond. Riffs are just a tad bigger, melodies catchier, grooves . . .well . . groovier. And Kamchatka aren't afraid to explore away from the standard blues riff and delve into the world of progressive rock. And they bring those elements in seamlessly.

Once more, on their fourth album Bury Your Roots, we find Sweden's Kamchatka pounding out heavier melodic blues-laced rock. But if anything, Bury Your Roots finds the boys plowing even more progressive highways than they did on III. The guitar work throughout can only be described as ambitious, arrangements are more complex without being cluttered, vocals are textured and clean. Most importantly, Bury Your Roots is rooted in authenticity and passion. Highlights are too numerous to mention. Suffice it to say, Bury Your Roots is an amazing album for retro-rock fans from start to finish.

Ape Machine - War to Head

Did I say I'm not dispassionate? I meant it, and Ape Machine are another band I just can't be neutral about. When I first heard that War to Head was coming (and I'd been privy to some very early mixes months ago) I just went ahead and set aside a spot in my Top 10 for 2011 for the boys. They were gonna have to really screw up to get knocked out.

Suffice it to say, they didn't screw up. War to Head is everything that I love about Ape Machine. Hooks the size of wrecking balls smashing down upon my helpless skull in a furious retro-70's assault. Great vocals, emotive and clean, and definitely "of the day" to be blowing out retro-blues, and an adventurous soul.

On War to Head, Ape Machine take a little more time than they did on their debut, This House Has Been Condemned. They allow a little more air to breathe into the mix, explore a tad more progressive pathways while never taking their foot off the Zeppelin-blues gas pedal. The guitar work is absolutely sizzling, and I love the growing progressive/psychedelic influences. Just take one listen to the mid-tempo terror of "The Sun." One listen. Just one. Then I dare you not to hit the play button again, and again. Searing guitar hooks, monstrous riffs, changing arrangements, smoky psychedelia. Amazing stuff.

Check War to Head without second thoughts!

Suede Brothers - The Night

Damn me! Damn me! Damn me!

This is an open letter to guitarist/vocalist Dylan Francis, bassist Kevin Naughton and drummer Mike Varga. Hate me. Kick me. Say bad things about my body odor. I deserve it. All of it. I'll plead insanity. I'll plead a parasitic infection. I'll plead abduction by aliens that violated me in ways that I've yet to find the words to describe.

How else can I explain letting this disc sit for so long on my Ripple desk? I don't even know how long it's been there. A year? A century? The Night came out in 2010, so hopefully it hasn't been a full two years. But it might've been. And for that, I'm truly sorry. Let's make amends.

Akron trio, Suede Brothers, third release, The Night, is exactly the type of album that the Ripple Effect was created for. A killer release by a hard-working, authentic, hard-driving rock n roll band, that for some reason the buzz hasn't been building fast enough. I placed this review in this column with Lonely Kamel, Kamchatka, and Ape Machine for a reason. If these bands appeal to your inner musical mojo, then you gotta check out Suede Brothers. These guys kill!

On The Night, the riffs are a bit heavier, the music less progressive, the gun barrel aimed a bit more directly at your heart than the other bands, but it's still one killer big riff, retro-70's blast. Dylan's voice runs towards the Geddy Lee end of the singing range which works perfectly for these songs. His guitar playing is never flashy, but solid and Kevin and Mike must hate everything about you to pound you in the face so hard with their rhythm assault. And it all works. Perfectly.

The guys call themself, Rust Belt rock and roll. And I won't argue. They're hard like steel. The punish like a foundry. Their rust is poisonous and dangerous. Straight ahead, no bullshit rock n roll. And it's all done right. Check it.

--Racer

Deftones - Around The Fur

2012-01-15T00:25:00.000-08:00

Well folks it's been a while since I last had a chance to do any sort of write ups for The Ripple. While I have been listening to countless amounts of music I have had little time to do a proper write up. This past holiday season has been a handful.

Recently, we at The Ripple Effect were asked to write up about the first album we bought with our own money. I remember it like it was only yesterday. I was flipping through a music magazine, probably Circus or some shit and came across an advertisement for Music Choice. Music Choice was a cd by mail service offered in the 90's. You get 12 cds for a penny...a fucking penny!!! While I don't remember what 12 cds i got for my rusty old penny, I do remember one of them being Deftones - Around The Fur. An absolutely amazing album that would go on to shape my musical tastes for years to come.

This album gave me my first taste of of the vocal styling of one Chino Moreno. Who I would go on to idolize later in life...minus the whole drug abuse situation. My favorite song on that album and still one of my favorite Deftones songs was "Be Quite And Drive (Far Away). This song had it all: amazing lyrics, music and Chino's half crooning half screamed vocals and just plain amazing music.

"This town don't feel mine
I'm fast to get away - FAR
I dressed you in her clothes
Now drive me far - away, away, away
FAR - away
I don't care
FAR - away
And I don't care where just FAR - away, away, away"

Other amazing tracks on this album were "Headup" which featured Max Cavelera of Sepultura and Soulfly fame. As well as the title track "Around The Fur" and "MX". In honesty, who am I kidding? This album is great from beginning to end. If you have never heard the album, pick it up.

-Cicatriz

Deftones goes good with: The Smiths, Depeche Mode, Soulfly, Sepultura, Norma Jean, Crosses, Team Sleep, The Chariot, Pulse Ultra, System Of A Down

Nada Surf - The Weight Is A Gift

2012-01-14T11:39:00.000-08:00

“Death Cab is, Alex,” Tricia announced. I disagreed. We were discussing indie rock bands of the last decade. “No, they are just an alternative rock band,” I objected.

“Well, indie rock is really a sub-genre of alternative rock, isn’t it? So, why don’t you consider Death Cab an indie rock band?” she remonstrated. “ I felt cornered. I mean, what is an indie rock band anyway? I replied, “In 2004 they signed with Atlantic Records, a subsidiary of Warner Music Group. Atlantic is hardly an independent label.”

Tricia didn’t miss a beat, “Is that your definition of an indie rock band? For Pete’s sake!” (I thought “Who the hell is ‘Pete’?”) She continued, “Death Cab originally was signed by tiny Barsuk Records in Seattle and then released four EPs and 4 LPs under that label. Then, and only then, did they take the ‘big deal’ with Atlantic. How can they not be an indie rock band?”

She had me there but, of course, never one to admit defeat, I dug myself a deeper hole, “I just don’t see it that way. Nada Surf, now there is an indie rock band. I mean their 2006 release The Weight Is A Gift epitomizes indie rock.. It’s jangly, emotive stuff. It too was issued by Barsuk but Nada Surf never sold out to a large label.” I felt self-satisfied by my B.S. diversionary answer. My flawed plan for purposes of my ego was not to admit to her she was right about Death Cab.

She practically jumped out of her skin. Every fiber of her being became taut. She immediately mated me in this chess game of musical labels, “Alex, you are so wrong. By your standards Nada Surf could never be an indie rock band. Their first label was Elecktra, also a subsidiary of Warner Music Group.” She had me there. Still, I would not admit defeat, “Look Trish, The Weight Is A Gift is as indie an album as an indie rock band can produce, It was put out on Barsuk, City Slang and Rough Trade, all really small independent labels.”

A sly smile came over her face. She knew she had me and just wouldn’t let on. This would be checkmate. I could see the Queen coming at me from a mile away. I shifted from side to side in my chair and tried to shrink my stature to become the smallest target possible..

She put both arms on the table, leaned forward and said, “Produced? Did you say ‘produced?’” (I thought, “uh oh, Now I’m dead.”) Tricia continued, “You do realize that Chris Walla, you know who Chris Walla is don’t you Alex? Of course you do Alex. Chris Walla, the guitarist of Death Cab for Cutie, he was the producer of Nada Surf’s album The Weight Is A Gift. So, doesn’t that disqualify Nada Surf as an indie band? In other words, my dear Alex, Nada Surf is as much an ‘indie’ band as Death Cab for Cutie.”

I had no place to go. I looked straight at Trish and with surrender in my voice I said, “Well, at least we can agree that The Weight Is A Gift is a great classic alternative rock album?” Trish laughed and smiled, and loudly exclaimed, “Damn straight!”

- Old School

Ellie Goulding - Lights

2012-01-14T00:28:00.000-08:00

I’m a sucker for blondes. Don’t ask me why, but I’m easily attracted to blondes. Some of my favorite actresses of all time are blondes: Meryl Streep, Scarlett Johansson, Carey Mulligan, Marilyn Monroe and Charlize Theron. There is some kind of quality they seem to possess over me and I can’t quite put my finger on it. Now I have a new blonde in my life.

Irresistible. Intelligent. Imaginative. No, I’m not just writing adjectives that start with the letter “I” or describing a girl I’m dating, but the voice of an angel named Ellie Goulding. Every once in a while a great singer comes along and in recent years we have been spoiled with the likes of Florence Welch, Adele, Katy Perry, Amy Winehouse and Lady Gaga. All these immensely talented women have created great music that has transcended genres and I believe Ellie Goulding is the next big thing.

Much like Florence Welch I believe it’s going to take a year after her debut before mainstream audiences truly catch on to this mesmerizing English beauty. Goulding released her debut album Lights in 2010, but Lights was only available in the United Kingdom. Fortunately for us Across the Pond, the album was released in the first of 2011.

English singer-songwriter Ellie Goulding is quite similar to artists like Lykke Li, Florence Welch, Lights, Pixie Lott, Little Boots, Sky Ferreira and Kate Nash. Goulding could be best described as the sweeter and more innocent counterpart to fellow UK pop songstress Jessie J. From the very first time I heard her, much like Lykke Li and Florence Welch, I was instantly drawn to her sweet, unique voice. To describe her voice anything less than heavenly would be a travesty. Ellie Goulding has the voice of an angel (And yes that’s my second mention of it thus far- it’s not a typo or mistake).

The titular “Lights” kicks off Lights in stunning fashion. Killer beats accompany this sensational song that eerily emulates Goulding’s idol Björk. The single version of “Lights” is the one featured on the album with several variations available (an acoustic version and remixes by Bassnectar, MK Charlee Dub, Max Gordon, Shook, Drop Lamond, Fernando Garibay, Captain Cuts, Ming, and RAC) on various EPs. This is the second time I have composed a review in just as many days that I absolutely adore the titular track. “Lights” is an excellent first track and sets the mood perfectly. There’s a great dance/electronic vibe that transcends genres filled with fantastic pop lyrics.

Goulding is able to convey her darkness, yet mix it with a sweet sound that you get caught up in the lyrics without knowing it. “You show the lights/ that stop me turn to stone/ You shine it when I’m alone/ And so I tell myself that I’ll be strong/And dreaming when they’re gone” keep me begging for more. This starry-eyed beauty is the future of indie-pop music and this song proves why.

“Starry Eyed” is my favorite song featured on Lights and is one of the music highlights of 2011. The keyboards and drum programming perfectly supplement Goulding’s gorgeous voice. An addictive angelic-like tune, it somehow encompasses the best of disco, pop, and dance without losing its universal appeal. Being able to let go is tough, but the wonderful and heartfelt message in “Starry Eyed” makes it easier to overcome.

In the vein of “Starry Eyed,” the song “Under The Sheets” is another terrific track balancing electronic/dance with pop. Goulding certainly has a way with words and this song proves it once again, “We’re under the sheets/ and you’re killing me/ in our house made of paper/ your words all over me/ We’re under the sheets/ and you’re killing me.”

What words best describe the ballad “The Writer”? It’s kind of hard to describe, but I understand where detractors dislike this song and disregard Ellie Goulding. There is no real, rhyme or reason with the majority of these tracks because there is some sort of universal appeal that transcends genres. Initially, “The Writer” feels a Taylor Swift song, something that is “mainstream and poppy” while remaining true to the artist’s genre. If the music is good, it doesn’t really matter if you can’t properly classify it. Good music is good music.

Throughout the album there are traces of electropop artists like La Roux and Frankmusik while at the same time remaining purely pop music. Songwriter and producer Starsmith does a fantastic job producing a great album, much like he did with similar sounding indie pop artists Diana Vickers and Marina & The Diamonds.

Lights concludes with the endearing Elton John cover of “Your Song.” This tender track is the perfect gift to close out the album. Her delicate sweet voice provides a passionate cover showcasing her vulnerability. Goulding gives her heart and soul to create an affectionate and awesome song which will linger with you long after you have stopped listening.

--Brownstone

Silver Rocket - Old Fashioned

2012-01-13T12:24:00.000-08:00

Even though Silver Rocket's genre is listed as post-punk, I wouldn't be surprised if their album "Old Fashioned was in the possesion of a few perky-goths. Most of the album incorporates the old tried-and-true methods of deeper somewhat monotonous vocals, and the bass being brought forth in the sound, rather than being buried under the guitar. Such lyrics as, "The worst is yet to come....so kiss me," sound like shadowy laments that could have come from Robert Smith.

Stylistically, Old Fashioned takes the simple three chord song, adds 90's indie flavor to it, slides some 50's crooner style in there, and it's just magical. The songs are simple, they sound old-but also like nothing else at the same time. I almost can't describe it. Listening to it was like the feeling of a lazy Sunday, sprawled out on your living room floor, just nodding along to great, emotional rock.

But, then again, that's not the only feeling you get while listening. It's almost hypnotic. You're drawn in by the comfy vocals, and held in place by the careful, simple guitar, and carried away by elegant basslines. Ah! I know what it reminds me of now! Think Iggy Pop on downers. It's energetic but sleepy at the same time.

I loved the album, it made half of me want to curl up and watch old movies, and nap. The other half of me wanted to drive really fast with my head out of the sunroof down a busy street at sunset during late summer. It's fifties ballads meets sixties psychadelia meets ninties punk revival.

The whole album is a swaying tribute to everyone from Frank Sinatra to The Ramones and The Sex Pistols. It's old-but new. It's slow but fast. It's....It's just lovely.

--Gorgeous Nightmare

<a href="http://silverrocket.bandcamp.com/album/old-fashioned">Old Fashioned by Silver Rocket</a>

The Devil's Blood -The Thousandfold Epicentre

2012-01-13T00:03:00.000-08:00

Heart, with Stevie Nicks and Mick Fleetwood, if you knew both Wilson sisters were Satantic and totally DTF*....

Don't EVEN tell me that doesn't sound AWESOME.

And I mean this as a compliment, but I cannot, for the life of me, put this on and stay awake. It's grandiose and catchy as hell, but also relaxing: it's so swirly and ethereal that you wanna just go away and take it all in... sift through that wonderful soft cold blackness that is sleep....

Course, when I wake up I've got candlewax on my nipples and my sphincter is stretched...

...probably not related, though, in all honesty.

ANYway...

...much like Ghost or In Solitude, there's a definite intentionally-retro, '70s vibe here... every song is disturbingly (suspiciously?) memorable... one or two trips through this one and you will be humming some Real Shit, yo....

"On the Wings of Gloria" features a main riff not unlike "Immigrant Song" with Ann Wilson singing on it... [and listen to all the lyrics here; they're understated but sinister as hell]... "Cruel Lover" with its BDSM-suggesting lyrics and its very Fleetwood Mac-ness in the arpeggiated chords and buh-da-BUM buh-da-BUM buh-da-BUM-"Tusk"-isms, sounds totally like something from Fleetwood Mac's eponymous album-- something that I would've heard in the radio in my '78 Ford LTD....

The Thousandfold Epicentre came out in Europe in 2011 but only comes out in the States (officially) in 2012. So, do I put it in "best of" lists for this year?

I don't always break the chronological rules of album review-- but when I do, I put The Devil's Blood at around #10 or 9 of 2011.

If you've ever wanted Fleetwood Mac to sound more like something quietly sinister, something trying to get you to "cut your flesh and worship Satan," as it were, The Thousandfold Epicentre is for you my friend.

You fucking weirdo.

Devil's Blood, website: http://www.thedevilsblood.com/declarations.htm

*We already know Stevie Nicks is. Hey-oh!

--Horn

Alice Cooper - Billion Dollar Babies

2012-01-12T00:05:00.000-08:00

While out Christmas shopping for the family I decided to take a break from the nightmare of department stores to seek refuge in the local record shop. I needed to get something for my friend Vinny who lives just a few blocks away from me. A couple times a month he lets me come over and we pretend it's 1982 and take turns playing LP sides on his massive stereo. He also is nice enough to allow me to raid his liquor cabinet and refrigerator throughout the course of the evening so I wanted to get something to say thanks for indulging me. It only took a few minutes of flipping through the racks before I found the perfect gift - Rhino's reissue of the Alice Cooper classic Billion Dollar Babies. A favorite album for both of us, Rhino went all-out and recreated the amazing packaging of this blockbuster album. Not cheap, but totally worth it. I thought it was a brand new reissue but turns out it was released in December 2009. How did I miss this for the past two years?

Released in February, 1973 (just 7 or 8 months after the great School's Out album), Billion Dollar Babies came out the same year as other kick ass records like Raw Power, Tres Hombres, Razamanaz, Houses Of The Holy and Sabbath Bloody Sabbath. An obscure album titled Dark Side Of The Moon also came out that year. School's Out and rigorous touring made the Alice Cooper band one of the biggest in the world but Billion Dollar Babies made them even bigger. The band, along with producer extrodinaire Bob Ezrin, took everything to the next level. The songwriting, arrangements, musicianship and production are all top notch. People talk about the incredible production on Dark Side Of The Moon but Billion Dollar Babies is right up there with it. Play this loud and really listen to the music and you will be amazed. How did this obnoxious, offensive, theatrical garage rock band get so good? The borrowed a lot from their mentors Frank Zappa and Jim Morrison but added Groucho Marx and pure Hollywood showbiz to create this bizarre yet completely mainstream entertainment. And with no dirty words!

School's Out came in an elaborate school desk gatefold sleeve with the actual LP sitting in a pair of paper panties. But the Billion Dollar Babies packaging makes that seem like kids stuff. This is the real reason to pick this Rhino version up. No detail has been left out. The embossed raised lettering on the front cover lets you know this is a classy package. Open up the gatefold sleeve and the huge billion dollar bill has been recreated in all it's glory. So has the glossy band photos that are perforated on the left side of the inner sleeve. If you pop them all out the album credits are printed underneath. Then there's the inner sleeve with lyrics on one side and the classic photo of the band surrounded by bunny rabbits and stacks of money while Alice holds a screaming baby with his trademark eye makeup. Back when people bought records and actually listened to them, artists spent a lot of time on packaging because they knew their audience loved looking at and owning all this stuff. So fucking cool!

And do we even need to discuss the music? Alice is well known for his amazing live shows but the music has always been the best part. Killer is my personal favorite but Billion Dollar Babies is the best album these guys made. You can't argue with massive hits like "Elected" and "No More Mr. Nice Guy." Imagine my delight when I caught my mother (who HATED Alice Cooper) humming along to "No More Mr. Nice Guy" on AM radio. When I told her who it was she turned it off. Opening track "Hello Hooray" is an epic that they originally heard on a Judy Collins album! And the title track is nothing short of incredible. Neal Smith's classic drum intro starts off this creepy classic that features a cameo from none other than Donovan. Other guest vocalists on the album supposedly include John Lennon and Harry Nilsson buried somewhere in there. Everyone was so drunk back then that anything is possible. It's obvious that Kiss was taking notes. Their first album was released a year later and included a mix of hard rock and showmanship and they would later work with Bob Ezrin. Alice always had big, catchy songs but was never afraid to get weird at the end of side two. Kiss never did songs like "Sick Things," "Mary Ann" and "I Love The Dead." As a little kid these songs terrified me but I still loved listening to them. As an adult they still strike me as the work of twised minds making music for other twised minds.

I really love this record. As soon as my Christmas credit card bill is paid off I need to get a copy of my own. My original LP cover is totally destroyed and the vinyl is barely playable. The deluxe 2CD version that came out in 2001 is also mandatory but is now out of print! The remastering sounds great and the live show from the 1973 tour is excellent. The packaging is good but nowhere near as iconic as the original LP. I'm writing this on Christmas eve and am looking forward to watching the live DVD from the Billion Dollar Babies tour later tonight. Fuck the yule log, ALICE COOPER RULES!!

--Woody

Alice Cooper Elected
- Watch more Music Videos at Vodpod.

Farsot – Insects

2012-01-11T00:18:00.000-08:00

Farsot is a black metal band from Germany. “Insects” is their second release. But this is not your father’s black metal. I’m sure someone more clever than me could tell you that this is “post blah blah blah”, and I’m not really all that attached to all the sub genres in metal. What I can tell you is that this is good stuff.

There are some very traditional elements and some very experimental elements at work here. The mix of these elements combines to make this a very interesting album. Opener “Like Flakes Of Rust” begins with what sounds like a swarm of insects and sets the tone. There is some narration throughout the album that was either written for this or they sure found some sweet samples that are just right. There are robotic, metallic sounding vocals that are just what you imagine our insect overlords would sound like. There are some nice acoustic moments throughout as well. And these are all combined in ways that make this a very interesting album.

I’m not sure if this is intended as a concept album but there are definite themes that unify this release. The songs flow together nicely, there are no jarring transitions, and what I can understand of the lyrics all makes me think that this is of a piece and not just eight independent tracks. The press release accompanying this album points out that the band spent four years putting this together, which is a long time, but then again, when the final results are this good then obviously time well spent.

It seems to me that more extreme metal is making some inroads and that more people are taking note of this music. This is the kind of release that will help that process. There is nothing here that is simply shock value to get attention, or extreme just for the sake of being extreme, or any of the other tired tricks that metal bands will roll out from time to time. Just a good solid, well written, well performed group of songs released into the world.

I like music that challenges me and takes me in directions that I was not expecting. Metal has its share of cookie cutter, copycat bands, bands that just play by the numbers, and bands that are unimaginative. It is very refreshing to hear a band like Farsot that does not seem to follow any conventions, but rather seems to have something to say and knows how to say it.

--Odin

Orange Goblin - Eulogy for the Damned

2012-01-10T12:18:00.000-08:00

Can we say crank up the volume and get ready for some hard rock that will kick in your face so deep it will leave a foot print on your ear drums? If your ears have an appetite for gritty rock n' roll then Orange Goblin's seventh and new album Eulogy for the Damned, released on Candlelight Records is what you need to feed them.

Take the sound of Sabbath, mix it with the biker, outlaw attitude and sound of Motorhead, pump the beast with the fury of punk, a bit of southern rock, and you've got a quartet from the UK called, Orange Goblin. Fronted by the growling vocals of Ben Ward, the band line up also consists of the gritty guitars of Joe Hoare, the heavy bass guitars of Martyn Millard, and the thumping and hard-hitting drums of Chris Turner.

With an album titled, Eulogy for the Damned, you better deliver a kick ass record. Orange Goblin more than delivers on the album title's promise. They light the package on fire and kick down your front door to give you a good rock n' roll ass kicking.

Eulogy for the Damned kicks into high gear like a semi-truck without brakes and rolling through early morning traffic with the song "Red Tide Rising". Listen to this song while your driving and you just may think you are that semi truck even if you're driving a Pinto.

The intro riff immediately gets your adrenaline pumping, and you just know you're going to be taken for a ride. Once those heavy drums kick in, you may not notice your head bobbing up and down while your lips curl into a sneer that says, "Here I come, so step aside, bitches!"

I do have to admit that I cheated. I looked at the track list on this album and my eyes immediately locked onto "The Filthy and the Few". With a song title like that, I had to just push play, and after listening to it, I had to adopt it as my personal theme song for 2012!

"The Filthy and the Few" is the absolute stand out track on Eulogy for the Damned for me. Perfect in every way. Talk about the perfect road song, the perfect song to play in a bar...not just a biker bar...any bar...a perfect song to get you in the mood to kick some ass. The songjust roars at you like a Harley, so don't be surprised if you do give your neck a workout while listening.

Heavy and pumping with punk-influenced fury, "The Filthy and the Few" has guitars and a bass that maintain an under-lining groove to the song that keeps it from entering Trash Metal territory. Wards growling vocals adds to the heaviness of the music in an unconventional way, and gives this song, as well as many others on the album, a nice, smearing of grit that gives Orange Goblin quite a unique sound.

Quick, fast, and to the point rock! If this song doesn't get your pulse pounding, you should check to see if you even have a pulse 'cause you just may be dead!

However, this album is not one dimensional. Orange Goblin switches gears with "Save Me From Myself", a bluesy, song very entrenched in a southern rock vibe, just with more gritty guitars. Ward's vocals tempers-down from a growl to a low, clean, fore-boding voice during the verses and goes into a great singing melody during mid-song. This is a great song with a great melody while keeping a sound gritty enough you can taste the sand between your teeth.

The albums second track, "Stand Up for Something", also is more of a mid-tempo rocker that has a nice rolling groove. Songs like "Stand Up for Something" and "Return To Mars" are straight up rockers that aim to groove you more than break your neck. These tracks add more depth to this album and keep the album's sound fresh so it doesn't get stale with just one particular style or sound. There's a lot of variety on this album, yet Orange Goblin somehow makes all the tunes fit well with each other.

From beginning to end, Eulogy for the Damned never gets stale, and it's full of surprises. Just when you think you may be getting more of something, Orange Goblin takes you on a different journey with each song. Like I said in the beginning of this review, they take you for a ride, and the ride is awesome the whole way through.

Eulogy for the Damned rocks with great songs that are written well both musically and lyrically. The playing is tight, and has an amazing in-the-pocket groove that many bands find hard to achieve. The attitude is there and it's not pretentious. You can tell by their songs these guys live and breathe the rock n' roll and heavy metal way of life.

So on a scale of 5 stars, what does Orange Goblin's new album, Eulogy for the Damned, get?

I give it 6 stars, because it's just that damned good!

--Boogs

Ripple Music Signs Exclusive North American-Wide Distribution Deal with Heavy Music Leader, NAIL Distribution!

2012-01-10T10:34:00.000-08:00

Ripple Music and NAIL Distribution have signed a deal that, as of January 2012, will make NAIL Distribution the exclusive distributor of Ripple Music CDs and vinyl records throughout the entire North American Continent!

"This is a very big deal for Ripple Music as NAIL Distribution is an independent distributor with a proven track record of working with heavy music like Ripple, handles a tremendous catalog of artists, and operates with a ton of integrity." explains Todd Severin and John Rancik, co-owners of Ripple Music. "Plus, as a division of Allegro Media Group, this agreement opens up new and exciting opportunities for digital distribution of Ripple Music bands. We’re extremely proud to be working with the whole NAIL team and thrilled to get Ripple Music permeated through the ears of the North America,"

California-based Ripple Music burst onto the scene, making huge waves upon its launch in 2010 with a mission to release quality “authentic rock” for the hard-rocking world. Releasing vinyl, CD’s and Digital, Ripple Music quickly gained the approval of music lovers as they began working with some of the most respected artists in the heavy rock/heavy psych genres like Stone Axe, Mos Generator, Poobah, Fen, and JPT Scare Band. Since then, the Ripple family has continued to grow with critically-hailed releases by UK’s heavy rockers Grifter, Iron Claw, and Trucker Diablo.

"NAIL's excellent reputation among their client labels and retailers, their recent track record of labor-intensive growth, and the great people there in every department were all essential factors in giving us the confidence that we needed to make this move," notes the Ripple team. "Plus their absolute love for hard rock and what we're doing at Ripple. We’re very excited about our new relationship with NAIL."

NAIL has been one of the premier North American distributors of independent music for over 15 years, NAIL distributes music of all stripes, handling nearly 200 exclusive labels. NAIL delivers the best in independent rock, folk, Americana, punk, avant jazz, electronic, experimental, hip-hop, metal, and soon, Ripple Music.

www.naildistribution.com

www.ripple-music.com

Hong Faux - The Crown That Wears The Head

2012-01-10T00:17:00.000-08:00

'You like Hong Faux don't you? Sure you do. Here's the stream of the whole album."

"Hong who? Never heard of 'em."

I figured I should give Hong Faux a chance, even though I didn't really want to. See, I played the video included in my email and I wasn't too impressed, but I learned long ago not to judge a band by the single that management, or whoever, decides to release. It's usually not the heaviest song on the album and it's almost always my least favorite.

Fast forward to today. After listening to the eight tracks from their debut, The Crown That Wears The Head, I can now say that yes, I do like Sweden's Hong Faux. I just think they should've released a different song to promote the 34-minute album.

Don't get me wrong, "Feign Death to Stay Alive" is a decent rock song, and the album title is included in the lyrics, but it's just not a heavy track and it pretty much disappointed me. It starts out with huge bass licks and I think I'm in for a treat, but a few seconds later I realize that I won't be bangin' my head or shakin' my ass at all. I think the vocals and chorus are the best parts of the song.

Enough about what I don't really care for. Let's get to the good stuff. Vocals are superb throughout the whole album and the production is top-notch. This is one tight, talented four-piece rock group that combines sweet melodies and soaring vocals with some heavy riffs. And they do it well. I think Hong Faux could easily be heard on radio stations across America if someone gave them a chance.

Upbeat and rockin', and without much prettiness, "Present Tense-Less", is a great start to the album and it's probably my favorite. It's a short, toe-tapping delight with a great guitar solo. And a cowbell. i've told you before that I'm a sucker for a cowbell.

A light melody on "Hit Hard Hit First" builds into a strong, powerful and memorable chorus, and ends with some grungy guitar riffs. "Bad City Blues" has some of the heaviest guitars and the best solo on the whole album and it's another choice track.

"Deathmatch" is another up-tempo, guitar-driven gem and "Pearlgarden" ebbs and flows with crushing riffs. Yeah, I'm glad I gave these guys a chance.

It's definitely not too heavy, and it's plainly not too light. Some rock music fans might say The Crown That Wears The Head is just right. It's not what I'd usually listen to, but I can't dismiss the talent.

You can buy the album at the group's Bandcamp page, where it's initially available exclusively on vinyl.

--Heddbuzz

http://hongfaux.com/
http://hongfaux.bandcamp.com/
https://www.facebook.com/hongfaux

UFO - Seven Deadly

2012-01-09T00:20:00.000-08:00

Anyone who has ever loved the sound of a crushing electric riff, a perfect melody, a rousing chorus, rough-hew, soulful vocals, or a guitar solo so freaking fast and dynamic that it makes your eyeballs water, needs no introduction to UFO. After more than 40 years in the business, these crazy Brits have earned their place in the honored halls of rock and roll, both for their music and their mad antics. So let's cut to the chase shall we.

UFO's last album, The Visitor was, without a doubt, the best UFO album since the band reformed with Vinnie Moore for You Are Here, which was the best UFO album since the short-lived Schenker reunion Walk On Water, which in turn was the best UFO album since the vastly under-rated Paul "Tonka" Chapman days. You want it shorter than that? The Visitor was one great rock and roll record, and it deserved to climb right up there near the top of UFO's vast cannon of great albums.

But you can't please everybody. I heard some people complaining that it didn't "sound" like a UFO record. Too bluesy. Not riffy and rocky enough. Whine, whine, whine.

Welcome to Seven Deadly.

As if in direct response to these "critics" (people who refuse to let a band grow in whichever direction they choose, but no, they MUST sound the way I want them to!), UFO come raging back with the latest installment in the Vinnie Moore-era UFO, and they sound positively pissed. Reinvigorated since the joining of Moore, UFO sound re-energized here, like they've somehow unlocked the code and opened the fricking rock-and-roll fountain of youth. Bustling with energy, punch, and verve. Ready to rock the shit outta you or kick your face in. You choose which.

There's still a now-familiar blues-y vibe to the album but there's also a string of pure, kick-to-the-balls rocking.

The jump in adrenaline is evident from the very first track. "Fright Night," kicks off with a straight-forward, simple-yet-mean, riff that cuts right through the mix, like the kinda riff UFO have explored so successfully in the past on songs like "Too Hot To Handle," or "Only You Can Rock Me." Think of this song following in the same vein, and from there I promise you, I will make no more references to UFO songs of the past. It's the easiest thing to do, refer back to some song on Lights Out or Obsession for reference, but the truth is, this album is so strong it should be the point of reference for future albums. Mogg's voice layers on top of the sounding more textured, more soulful, more plaintive than in recent memory. This is full-on charging UFO, crushing riffs held together tightly by an instantly catchy melody, all leading up to that chorus that will just lift you right outta your chair and in this case, thank God for salvation.

Moore's guitar work is dead on. Moore is a shredder in the best sense of the word, and most importantly, fully adept at melody. When he wants to bust out, he can wail into a jaw dropping solo, notes flying faster than spit flying from an auction barker's mouth. Then he can drop into a perfect acoustic passage, shoot off some harmonics or crush your cerebellum with the strength of his riffs. Moore's tone isn't so much reminiscent of Schenker as it is more indicative of the classic UFO sound, and yes, the band has been around long enough to declare that they have a sound all their own. God bless em.

UFO without Schenker was always a dicey affair (except for the previously mentioned Chapman years) because Mogg needs that guitar energy to set his songs ablaze. At the same time, Schenker showed us with his solo career that he needed Mogg's sense of craft and melody to create a memorable tune. It was that combative chemistry that always fueled the band's best work, and with Moore in place, Mogg seems once and for all to have found that perfect foil. Power and melody. Sizzling chops and structure. Perfect. Absolutely fucking perfect.

"Wonderland," spits out next with a fast-paced rocker in the "Lights Out" vein. Spirited and mean, this song absolutely chugs with passion, belying the boys advancing years. Moore comes up with a closed-fist attack of a riff, the band is tight as the glue holding Donald Trumps toupee in place, and Mogg proves once and for all that he's lost none of his fight or passion. Play this one live and it woulda fit comfortably on their classic Strangers in the Night. A future classic UFO song, one that our children will one day ask us if we remember it when it first came out. Then, lest you think the boys are blowing their wad too early, "Mojo Town," tears out on the back of a fierce and twisted blues riff. Mogg sounds great, reminding us once and for all that he's always been one of rock's most unheralded vocalists. Moore's tone is dead-on, and I'll tell you, the return of "no neck" Andy Parker on the drums seems to be the final ingredient necessary to drive these chaps over the top. The only ingredient missing was the presence of legendary bass player, Pete Way.

"Angel Station," follows next, in the absolutely classic UFO power-ballad vein, like "Out on the Streets." Delicately plucked strings start it off amongst a symphonic background, then the whole thing explodes into a melodic guitar ballad that could make a grown man cry. Paul Raymond's work, always the glue that held the band together, fills in here, leading the track into perfect hard rock territory. Melodic rock for the ages, by one of the bands to first create the genre. Power and beauty all wrapped up into one track.

"Year of the Gun," jumps right back into the Mississippi swamp, while "The Last Stone Rider," nails a down-and-dirty mutated, menacing blues number. Another standout track, Mogg sounds positively charged here. "Steal Yourself" is a ballsy blues-rock attack and a killer album cut, while "Burn Your House Down," rocks with a dark menace, smoldering under the intense melody. "The Fear" is another pure nitro distorted blues assault with some tasty harmonica licks and rollicking guitar.

And the album continues from there all the way to "Waving Good Bye," a gentle closer, the band mounting their horses and riding off into the sunset. Although I gotta say, I'm a bit disconcerted by Mogg's very final lyric line. His last line on the entire album. "I'm saying good bye, for the very last time." Let's hope that's not a not-so-hidden message for the future.

For all those naysayers out there who claim that UFO haven't unleashed a great album since Walk On Water, open your ears. Here's another brand new, fresh burst of classic UFO. Building upon their past, not revisiting it.

Misty green and blue forever.

--Racer

Abigail Williams - Becoming

2012-01-08T10:47:00.000-08:00

To preface: cool cover. I dug the Black Dahlia Murder's similar one for Ritual-- stained-glass Satanism.

If Down can be said to be "doom [metal] for dummies," then Abigail Williams are Black Metal for Dummies. Decibel magazine called them "grimness ready for mass consumption," (pretty much the same sentiment)-- the production is solid, not nearly as "cold," or off-puttingly trebly-equalized, as are traditional black metal acts, and there's actually some melody here.

You can hum this black metal.

Abigail Williams, like similar Satanic-ish brethren Nachtmystium and Death, have an almost completely different line-up with each release; from an ego-centric/artistic standpoint, this seems ideal-- you can musically turn on a dime, so to speak, anytime the mood strikes you. Not sure if someone's been watching Disney Channel or not (I love it, myself, very inspiring sometimes), but that might explain some... uh, memorable leanings here.

Track two, "Radiance" opens with a beautiful ambient/emo riff that's Darkthrone cut with a dusting of Selena Gomez (or whoever her writer is); "Elestial," at around around 3:00 slows down from its blast-beat assault and almost sounds like the dirge of some forgotten fallen angel lieutenant to Lucifer; "Infinite Fields of Mind" opens with wind and ocean sounds and acoustic guitar before becoming a fairly typical black metal blasty-beaty tune; "Beyond the Veil" (a nearly 18-minute behemoth) opens with a solo violin and proceeds to hit every ambient/black metal trope (though quite memorably); and closer "Three Days of Darkness" is an instrumental that sounds very like the intro to Stryper's "To Hell With the Devil" (irony!).

Overall, this seems like "transitional/ gateway" black metal-- like Fear Factory, it's got the imagery, and, for the most part, the adherence to the tropes of an extreme form of music, but only enough of them to "represent" the genre while simultaneously being as inviting as possible using melody and hooks. Who knows-- maybe this'll be what gets 2012's version of a 12-year-old Chronos into black metal?

What a strange concept: commercialized black metal. Granted, not tr00 or kvlt... but what if this market, arguably the absolute last market to be blood-sucked for commerical appeal-- was co-opted by Big Business?

After that, what's LEFT?

Remember the joke, "If Napalm Death got any heavier, they'd hit some sort of heaviness continuum and become Air Supply?"

I doubt [in my perhaps-"old-fogy"-ness] if you can get any "heavier" than black metal. No faster, not meaner in lyrical spirit, no more (sometimes) detuned....

So, then, musically-speaking, what musical artifacts are we leaving for future generations of angst-y teens to avoid/ abandon/ abjure?

I can't think of anything (sonically-speaking) that would even qualify as "music."

What, then? Will teenagers of the near future eschew music entirely, as something from the past-- like the Charleston was for your Grandparents?

That's a chilling thought.

I think Abigail Williams made an album much more horrifying than they intended--

however unintentionally.

But you're curious now... aren't you?

--Horn

We Have A Ghost - Debut Album

2012-01-08T00:57:00.000-08:00

Dear fellow music-lovers,

On some days, life offers us the chance to make a difference in the world. The chance to stand up for the forces of creative freedom. The chance to fight for the underdog, to support the truly gifted. The chance to throw away our ego, and become a part of something bigger than ourselves, kinda like Voltron. Well, waveriders, today is one of those days.

Before I began writing for this site, I contacted the staff to inform them that I thought they were a bunch of softies handing out favorable reviews to anyone with a guitar in his hand and a mic in his pocket. However, the good people of the Ripple Effect reminded me that they are here to support and discuss the good music, not to expose and ridicule the bad music, then they offered to let me write for them. Well, today I intend to take their philosophy one step further.

This is not a music review, this is a call to action. This is a request from me to you, that you find the spirit of giving within yourself and help a talented artist manifest his vision. To wit:

About 6 months ago, I happened upon a mysterious new musician who went by the name We Have A Ghost. There was very little information about him beyond his influences and a few artistic photographs which he had taken. But his music was spectacular. Live drums driving alongside gritty modular synth sequences and lush pads - delicately layered, patiently built-upon, happily mangled and distorted. His sound quickly became one of my favorite flavors of tea.

Well, We Have A Ghost's self-titled debut album (which you can preview below) was released in October, and now he's interested in offering a physical package. But this guy dreams big, and to help fund the project he has recently proposed a campaign on Kickstarter.com, a funding platform for artists, musicians, filmmakers, journalists, etc.

Perhaps We Have A Ghost can explain his idea best, so I've pulled these quotes from his Kickstarter page (http://kck.st/svr2f2):

"I am an anonymous multimedia artist. I choose anonymity because I want it to be about the music, the art, the experience. It forces me to create. I know there are many other emerging artists trying to survive doing what they love. I want to prove it is possible, DIY style, using readily available tools, wherever you are."

"Kickstarter is the next step for me. It provides you a risk-free opportunity to support the artists you believe in. Kickstarter is all or nothing. If enough people believe in this, it will exist. If I do not reach the minimum goal, you will not be charged, this will not exist, and it may haunt you."
"The goal is simple: create the most beautiful album packaging I can to compete with the most beautiful limited edition works in existence."

"My vision involves: Glow in the dark vinyl or a picture disk that glows in the dark. A limited edition hard bound book comprised of hand tinted black and white photos and hand-written lyrics. Housed in a custom box with embossed artwork that glows in the dark."
For more information, please see: http://kck.st/svr2f2

Confucius once said, "The man who moves a mountain begins by carrying away small stones." Well, if everyone reading this page were to contribute $2 to this campaign, We Have A Ghost would reach his mark with ease and start moving the mountain.

As a thank you to the fans, if the goal of $5,000 is reached by January 14th (when the campaign closes), We Have A Ghost has agreed to allow me to conduct a rare interview with him to discuss his concepts, inspirations, techniques, and plans for the future.

So, the choice is yours. You could have a hand in the creation of something beautiful and unique and good and fair and right in the world. With just a few small stones, you could help move a mountain. All you have to do is click the link featured up and down this post and donate whatever you can. Literally, every dollar helps. Let's go Voltron Force!

(For the purpose of ease and because of my inherent prejudice, I referred to We Have A Ghost as "he," but I do not know the gender of this person. He could very well be a she.)

We Have A Ghost Kickstarter Page: http://kck.st/svr2f2

Take a Listen to We Have A Ghost:

We Have A Ghost by We Have A Ghost

My First Album - Blink 182 - Enema of the State

2012-01-07T11:00:00.000-08:00

I remember my first time like it was yesterday. It was the summer of 1999 when it all went down. South Park: Bigger, Longer & Uncut had just been released and I already celebrated my birthday a few weeks prior. This was about the same time I moved into a new city and started getting an allowance. After saving up three weeks allowance at $5 a week I had enough money to buy my very first CD, Enema of the State by Blink 182.

I was definitely the last of all my friends to buy the album, but I appreciated the album just as much. The infamous cover with the attractive blonde nurse pulling down her blue glove was an image every teenage male knew in 1999. Almost every guy I knew, including yours truly, had a crush on the model known simply as Janine. Years later I would learn her real name was Janine Marie Lindemulder, an ex-wife of Jesse James and an adult film actress, but I digress.

It was a warm, sunny June day when I walked to Target. Yes, I actually walked like a normal kid unlike some spoiled children today. The Target by my best friend’s house was known to have a relaxed purchase policy for CDs that contained a Parental Advisory sticker. Our walk took my friend Danny and I about 30 minutes.

Once we arrived I immediately went for the entertainment section and found the CD. It was $13.99 and I couldn’t have been happier. That day I learned a very important lesson, it’s all about confidence. As I brought my CD up to the twentysomething cashier in the garden section, she looked at me and said, “Late night, come home.” It took me a second before I replied, “Work sucks, I know” and she gave me a big smile. What were the chances the cashier would also be a Blink 182 fan and that she would quote “All the Small Things” to me?

Needless to say both Danny and I enjoyed rocking out to Blink 182 that afternoon. Green Day may have been the first band I fell in love with, but Enema of the State was the first album I personally bought with my own money. I managed to smuggle the album back home and played it several times before I lost it. Years later, I found my copy, now extremely scratched up, but I still cherished it just as much when I first bought the album. Enema of the State will always bring me great memories. When Blink 182 released their eponymous album in 2003, my interest in the band had passed long before their hiatus in 2005. However, at the time I always regretted not being able to see them live.

During my senior year of high school I was listening to a rock radio station when the DJ said, “Here’s an oldie, but a goodie…Blink 182’s ‘All The Small Things.’” I couldn’t believe it. Did a modern day rock DJ really say that about a song that’s only eight years old? Still, I sang along for 2:48 minutes and couldn’t have been happier. My joy for Blink 182 resurfaced and I became an even bigger fan in college thanks to my friend Billy, who is arguably the biggest Blink 182 fan I know (Sorry, Malcolm).

When Blink 182 reunited and I saw them on tour for the first time in 2009, I told people it was for pure nostalgia. I lied. By that time I was beyond stoked and my passion for the band had been reignited. I have now seen the band several times and can’t wait to see them again. There are certain bands, no matter how old I get, I will always have a place for them in my life and Blink 182 is one of them. Their music still holds up.

Now every time I listen to Enema of the State, the album still sounds fresh to me. It’s one of those albums that defined my youth and taste in music. Right now the song “What’s My Age Again?” really resonates with me, maybe it’s because I’m 23, but I believe it’s just an awesome song about growing up. Even songs like “Adam’s Song,” “The Party Song,” “Anthem,” and of course, “All The Small Things” all hold up. Sure maybe not all of you are “feeling this” pick, but to me it’s “obvious” and will always be a band that keeps me “up all night.”

--Brownstone

My First Album - Mason Williams - The Mason Williams Phonograph Record

2012-01-07T00:28:00.000-08:00

I was incorrigible when I was eleven years old. It was 1968 and we had just moved to Los Angeles from Hazlet, New Jersey a year earlier. I knew no one in Los Angeles and I was angry and defiant that I had been up-rooted from school, friends and relatives to move 3,000 miles to a place where I was only slightly familiar with a second cousin I met on a two week car trip cross-country in the rear seat of a 1962 Oldsmobile 88.

In 1968 my parents bought their first California home. It was on a hill overlooking the Pacific Ocean and Catalina Island in San Pedro, California. My brother and I were placed in two

bedrooms of the three downstairs bedrooms, while my parents’ room, the front door entrance, garage and living areas were all upstairs even with the street. The downstairs bathroom had a door to the rear patio and stairs led up the side of the house to the street out of the gaze and view of my parents..

Within a week of moving in I stole a County roadwork sawhorse, complete with blinking light, and put it in my room. Shortly thereafter I met a welder when I was at an outdoor art show with my parents on La Cienega Blvd He later became rather famous for his kinetic energy sculptures and ball-rollers. He had four stop signs he had stolen from some street corner or other and had cut into them individual letters “L-O-V-E” chained together by iron links. I asked him for it and he gave it to me - I swear. It adorned the wall opposite the caution yellow psychedelic strobe lit sawhorse.

Still, two walls, one with a sliding door closet and entry door, and a wall that connected at a right angle that ran the length of the room to the window, remained barren.. They needed decoration.

Back in 1968 one of the biggest top 40 L.A. AM radio stations was 93 KHJ. While I was resting in the reverse backseat of a teammate’s parents’1966 Dodge Coronet station wagon between games of a little league double header, "Classical Gas", by Mason Williams, played on the radio. I remember I thought it was kind of “boss.” I had just started guitar lessons and I remember thinking "Classical Gas" was a really nicely produced acoustic guitar piece.

D.J. Charlie Tuna came on after the song and mentioned that the song was off of Mason Williams’ release The Mason Williams Phonograph Record and that the album included a life-sized poster of a Greyhound Bus.

Soon my father had a need to go to the White Front store off Hawthorne Blvd. in Torrance, CA. I tagged along and brought my $5.98 in allowance earned over four months just in case White Front had The Mason Williams Phonograph Record. I searched the bins and there it was with Williams on the cover smack dab in the middle of the Greyhound poster that was promised to be included inside. I bought it.

My father approved, at first. He had heard "Classical Gas" and was taking guitar lessons with me. However, as we drove away, I opened the album to see the prized poster.

It was life-sized alright. As my father drove I unfolded fold after fold until my father screamed at me because he could no longer see out the passenger window, half the windshield, the right backseat window, and half the rear window. I quickly and carefully crumpled the poster together so he could see. When we got home I opened the passenger door and it and I poured out. I grabbed the album and the poster as best as I could and made my way inside and downstairs to my bedroom.

The endeavor took a massive amount of scotch tape. I was chastised, derided and finally grounded by my parents for the unauthorized use of Elmer’s Glue. Yet after a three day suspension the life-sized Greyhound bus remained and adorned two walls in my bedroom as a backdrop for a yellow psychedelic sawhorse and a four way stop love sign.

As for the album, "Classical Gas" it is, well, classic. Some of it is really funny novelty such as Prince’s Panties about a Prince who named his dogs Panties because that is what they do. Unfortunately they attack him and he is eaten by his Panties. By and large, though, I bought the album for the right reasons as most of the music is really rather average. The bus remained on my wall until 1971 when I bought my first album from money I earned working at an actual summer job - Machine Head by Deep Purple.

- Old School

My First Album - Def Leppard - Pyromania

2012-01-06T12:22:00.000-08:00

In the early 80’s, as well as most of the 70’s, I was a sheltered child.

I discovered rock n’ roll through a neighborhood buddy whipping out his older sister’s Kiss collection and being stunned by the images of spacemen and demons, and the sounds that subsequently rattled around my brain. They were so savage! So aggressive! So filled with testosterone that my five or six year old self could hardly contain himself.

As soon as my Mom caught wind that I was listening to the devil’s music, well . . . that was enough of that! I was already enrolled in a strict Christian school that abhorred music and dancing, and really, I believe the characters from Footloose were based on my upbringing.

Fast forward to 1983-ish, and I’m around 11 or 12 years old and I’ve made friends with an older school chum who reveled in the music of the Beatles, The Police, Devo and who turned me on to Mtv. That was really the last day of any semblance of innocence that I had. There was Michael Jackson dancing with zombies, Prince struttin’ his stuff and singing about a little red Corvette, Van Halen figuring that it was just better to jump. Wow! What was this new, colorful, exotic and sometimes erotic channel filled with music?!? And then my world collapsed into light . . . and I saw for the very first time . . . a hooded figure speaking some gibberish before the explosive concussion of drums rattled my little television set on its stand. Def Leppard. “Rock of Ages”.

I had to have that album! So . . . I scraped up enough money to send a friend on what I considered a suicide mission. A girl from up the street mentioned that she was going to the record store, so I gave here my hard salvaged cash, probably about $10 . . . enough for the cassette tape and some left over for risking life and limb to get me my contraband. I paced up and down the hallway, every third circuit I’d peek out the window to see if the friends’ family car was back in the driveway. Pure torture, but I knew . . . I knew that the glorious sounds of this wee British band were soon to be mine . . . ALL MINE!!!

And once said friend arrived with said cassette tape, I didn’t simply tear the shrink-wrap off of the case. I basked in the glow of the damn thing and gingerly peeled the cellophane from the cases exterior. I relished every second of that moment . . . my first album that I purchased with my own hard, er . . . well, I didn’t really earn the cash so much as I found coins littered here and there around my house. I pulled the cassette from the case, removed the J-card to review the liner notes, and insert the cassette into a portable tape player that my Mom used for recording lectures.

I can’t remember the details of the next eight hours, but suffice it to say, I listened to a lot of Def Leppard. Loved “Foolin’”, “Rock of Ages”, “Rock Rock (‘til You Drop)” and “Too Late For Love”, songs that would soon be staples of my pre-teen day to day . . . always hated “Photograph” (song just bugged me then as much as it does now). And, though now, I can’t listen to that Pyromania without wanting to retch, it was important on so many levels. It introduced me to Def Leppard, which if you started with the band during the Adrenalize or Hysteria era’s, I pity you. Pyromania led to High and Dry, and then that led to other like music such as Motley Crue, Ratt, Dokken, Twisted Sister, Quiet Riot . . . you know, all the music that’s reviled today. But then that led to Iron Maiden, Judas Priest, Dio, Motorhead, Queensryche, and more . . . which then led to the Big 4 (kinda freaky to think it was only 2 years from Def Leppard to Big 4), then the underground, then back above ground, and ultimately to The Ripple Effect and Ripple Music.

Youthful rebellion led me to follow the rock n’ roll path and one that I constantly find fascinating today. This musical journey of discovery isn’t simply moving forward. It’s kinda’ like time traveling a little, stumbling on a cool piece of music history from my childhood or before, and no matter when I discover it or from what year it came, it’s always fresh and new!

The lone regret I have is that I don’t have the original copy of Pyromania that I fretted over so much on that one day so long, long ago . . . coz’ man, that would be cool to see again. Kinda’ like seeing an old friend again.

- --Pope JTE

My First Album - Weird Al Yankovic - In 3-D

2012-01-06T00:47:00.000-08:00

First record I ever owned, I'm pretty sure; ca. 1984. First concert I ever went to. First piece of media I wore out (can’t do that now. Goddamn digital media.).

Every track is still great; the originals the best: “Midnight Star” (tabloids), “Theme from Rocky XIII” (27 years later, we’re halfway there, Al!), and especially “Nature Trail to Hell.” Dig the first verse:

Coming this Christmas to a theatre near you
The most horrifying film to hit the screen
There’s a homicidal maniac who finds a cub-scout troop
and he hacks up two or three in every scene

That still cracks me up. What’s more: there’s actual Judas Priest/ Slayer/ black metal backwards masking involving Satan on the track! See below....

The Satan angle sorta makes sense: it’s been 30 years since Al’s first album, and he apparently has not aged at all. Or not in any way, shape or form.

Weird Al is Of The Devil. Could he be any cooler? I submit to you that he cannot.

--Horn

My First Album - The Rolling Stones - Tattoo You

2012-01-05T11:11:00.000-08:00

If I’m completely honest the actual accuracy of which album was the first I ever bought with my own money is pretty hazy…we’re talking 30 odd years here!!! It could well be something by the Police or maybe even Adam And The Ants. I can say with absolute conviction though that I definitely did buy Tattoo You by the Rolling Stones with my own dosh. I can even remember the sticker on the front that said £3.50. You try buying a brand new vinyl album for £3.50 nowadays…I tell you it can’t be done!!!

Let me just give you a little background as to why I chose this album to buy in my tender years (I would have been 11, maybe 12 when I got it). All credit must go to my dear old dad. You see, my dad has been a huge influence on my listening habits. As a child the house was full of music. In the early 70’s Sunday mornings would play host to my dad’s record collection and I remember a lot of old soul and funky stuff being played. In the car we would have some prime original ska like Prince Buster or the Skatalites that I would request on every journey. My dad, however, always had two abiding passions; the blues and The Rolling Stones and had done since he was a teenager. Even now in his 60’s if a new Stones album comes out he’s right there and he’s out most weeks to check out whichever obscure blues artist is passing through town. For a man known as the “white sheep of the family” by his wayward brothers due to his outward respectability he sure has a black man’s music taste!!!

So as a kid I was exposed to some of the best music ever created and when I entered the record department that day (it would have been Woolworths or W.H Smith) and saw a Rolling Stones album I suddenly had access myself to this treasure chest of awesomeness…plus I knew my dad would be proud as hell!!! I was immediately struck by the cover…Jagger on the front and Keef on the back both covered in tribal artwork. My young mind couldn’t grasp that they hadn’t actually had their faces tattooed for the cover, my knowledge of graphic design would come later. Either way this looked like a badass album!!! At this point I wasn’t aware that bands may have purple patches and wasn’t aware that the previous album was, by all accounts a sack of shit!!! Nor was I aware that “Tattoo You” was a bit of a stop gap album cobbled together from various unreleased bits and bobs dating back nearly 10 years at that point. All I was aware of was that it rocked and was righteous!!!

The album kicked off with “Start Me Up”. Come on people, you have to admit this is one the all time classic Stones riffs!!! As soon as it kicks in the spine starts to tingle and those erogenous zones go all a quiver!! Even as a young boy I knew that when Jagger sings “you’d make a dead man cum”…it had to be some pretty hot shit he was singing about…I didn’t even know what it meant but to make a dead guy do anything is pretty incredible right? “Hang Fire”, “Little T & A” and “Neighbours” all rocked hard and fast. “Slave” was a down and dirty funky fuck of a song and “Black Limousine” brought the blues. Flip this sucker over and the Stones give us their mellow side. Now we already knew from tracks like “Angie”, “Fool To Cry” and “Wild Horses” that they could tug at the heart strings like no-one else and they proved that here. “Waiting On A Friend” even proved to be a big hit with Jagger and Richards making out like they’re best buds in the video!!!

It doesn’t matter whether this album is rated as one of the Stones best albums or not…maybe it is, maybe it isn’t. In the cold light of day it sure as hell ain’t no “Exile On Mainstream” but it was my first and like your first fuck it stays memorable and special. In fact I may go and put it on now and get my groove on to that riff…you know…”Start Me Up”!!!

--Ollie

My First Album - Frank Zappa/Captain Beefheart - Bongo Fury

2012-01-05T00:45:00.000-08:00

Who the hell gives a 7 year old a Frank Zappa record for Christmas?

My oldest brother Joe did. On Christmas morning in 1974 a copy of Zappa's latest album Apostrophe (') was under the tree for me. Joe and I used to love to listen to Dr. Demento on the radio and he heard "Don't Eat The Yellow Snow" once and figured I would love all the poo poo jokes. I did. But I also loved the music. So about a year or so later when I found out that Frank Zappa was coming out with a new album I took the few dollars I hadn't spent on candy and went to the record store in the New Rochelle mall (can't remember the name of the place, but it wasn't a chain store). Ever since I was old enough to crawl I loved looking at album covers and my mother would drop me off at the record store so she could shop in peace for an hour or so. This time it was different. I wasn't going to just look, I was going to walk out of the store with something. (A few years later I got in A LOT of trouble for walking out of a store with a bunch of records I didn't pay for, but that's another story). It turned out to be Bongo Fury, a pretty insane album by most people's standards but one that made perfect sense to my 8 year old brain. The hippie at the record store counter (reeking of weeed, no doubt) seemed amused by my choice and was very patient as I pulled out my crumpled singles and loose change to pay for it.

My mother was already very annoyed that I loved to play Apostrophe (') all the time so she wasn't too thrilled to see another album by that Zappa creep entering the house. She also REALLY hated the fact that the band was called The Mothers. She thought the name was dirty as well as disrespectful to the institution of motherhood. And who was this jerk Captain Beefheart that was getting equal billing? She was convinced there was something horrible about the front cover photo of Zappa and Beefheart sitting at a table with an ice cream cone and a soda. In her mind, they had to have been high on drugs. I really didn't know what to make of the cover. It was just 2 guys sitting there. Zappa's looking into the camera and seems pissed off and you can't really see Beefheart under his hat. I was just excited that on the back cover it said that some of it was recorded live at a concert in Austin, Texas at a place called the Armadillo World Headquarters. I'd never been to Texas and thought it was cool that they played at some place that sounded like it was a zoo.

When I finally got a chance to listen to the album I realized right away I probably shouldn't play it too loud. I didn't understand the lyrics to "Debra Kadabra" or "Carolina Hard-Core Ecstasy" at all but got a pretty good understanding that my mom would not find any of it amusing at all. The word "bitch" shows up about 30 seconds into the first song. I couldn't believe that someone could say that and not get in trouble. I loved it! The music really flipped my lid. "Debra Kadabra" opens up with a killer guitar riff from Zappa and big drum hits from Terry Bozzio but the whole thing gets weird pretty quick. Especially when Beefheart starts singing. It sounded to me like he was hurting himself as he barked out the lyrics. Being 8 years old with an extremely short attention span I loved how quickly the music changed and kept changing. Who wants to hear someone moan "like a rhinestone cowboy" over and over. I got the point! You're a rhinestone cowboy. Now what? Zappa, Beefheart and the Mothers were my new heroes. It wasn't until "Carolina Hard-Core Ecstasy" that I was able to comprehend any of the lyrics when Zappa sang the line "she put a Doobie Brothers tape on, I had a Roger Daltrey cape on." To this day, those words make me crack up. It took many years until I had any idea what this song was about. Even now, I'm not so sure.

I used to really enjoy listening to Beefheart's two featured songs "Sam With The Showing Scalp Flat Top" and "Man With The Woman Head." They were so weird! Kiss would never let some guy with a deep voice scream "I wish I had a pair of bongos" on their live album. But my favorite song on the album has always been "Advance Romance." Clocking in at 11 minutes I thought it was the coolest thing ever. The lyrics seemed to be full of inside jokes and the guys in the band seemed to be trying to make each other laugh. They sounded like they were having so much fun! But I also really loved the music. It was probably the first time I had ever heard slide guitar and it really excited me. Denny Walley's solo is really raunchy and helped point me in the direction of the blues music that I was soon to fall in love with. Zappa's guitar solo that follows is insanely inventive. To my friends it just sounded like a bunch of noise but it made perfect sense to me.

The rest of the album was a little easier to share with the other kids. Songs like "Poofter's Froth Wyoming Plans Ahead," "Cucamonga," "200 Years Old" and, of course, "Muffin Man" were much easier for them to get a handle on. I'll never forget bringing the album to school once for show and tell. The teacher thought "Muffin Man" was the kids song but yanked it off the turntable almost immediately. As much as I wanted to share it with the rest of the class, her reaction was much better than I ever could have hoped for.

This album really helped point me in all the directions that I continue to refine to this very day - wild music, dirty lyrics, pissing people off, being weird and so on. Thanks Joe!

--Woody

The First Album I Ever Bought - Green Day; Dookie by Penfold

2012-01-04T00:08:00.000-08:00

Admittedly a good chunk of time has elapsed since I made my first music purchase. It was the spring of 1994. I was still years away from obtaining my driver’s license, and perhaps more importantly my music fandom was still in its infancy. Don’t get me wrong waveriders. I’ve always loved music, but during that time period I had other things on my plate that sucked up much more of my free time; namely school and computer games. However, the February release of Green Day’s Dookie apparently caused a shift in my priorities. I used the word apparently because to be totally honest, I’m not sure what motivated me to actually make this purchase. I don’t remember having any friends at the time who owned the album (no peer pressure), and I don’t believe I was listening to a lot of alternative music on the radio yet (still stuck on the parent-approved oldies). Maybe it was fate? We’ll never know.

Long story short, I managed to persuade my father to drive me down to the local Wallmart. I seem to recall that it was a nice, sunny day outside. When we arrived at the store, he accompanied me inside to the electronics department. I picked out the cassette (for those that don’t know a cassette is a tape based medium that once upon a time was the most technologically advanced form of music storage), took it to the cashier, and paid out a chunk of my hard-earned allowance monies. The album was officially mine. Yes!!! It was time to return home, and this is where the story gets good.

Skip ahead to when my father and I are back in the car. Hastily, I’ve torn away the plastic wrap encapsulating the cassette. Wanting a closer look at the captivating album art I’ve removed the liner notes (on reflection I’m not sure if ‘liner notes’ is the proper term since we’re talking about cassettes, but it’s all I’ve got right now). Yep. Intricately drawn cover art with tons of characters running around. Nice. On an inner page is a photo of Ernie from Sesame Street crowd surfing. Very Nice! But wait…what’s that on the other side? It appeared to be song lyrics. I began to read them, and that was when the trouble started. Golly gee I thought. There sure are a lot of cuss words in those lyrics. Not only that, but there were also drug references and depictions of violence. ‘This could be problematic’ said a tinny little voice inside my naïve mind. Also, I can’t be sure, but I wouldn’t doubt that most of the color had quickly drained from my face. What had I just bought? Moments later, the worst possible scenario unfolded…

“Hey son, why don’t we listen to that new music of yours?”

Oh no!?!? Must think quickly, must think quickly! If my dad heard any of this music he would have turned the car around, drove straight back to the store, and forced me to return my new tape. That wasn’t going to happen, but what could I say? I’ve always been honest to a fault, so there was no way I could spin a convincing yarn my father would buy. What if I just stretched the truth a little bit?

“That’s okay Dad. I’d rather wait until we get home to listen to my new tape.”

That’s right…home. Where a pair of headphones would ensure I was the only person hearing this new music. And guess what? My ploy worked! Quick thinking had saved the day. But that’s not all that happened. There was something else. Something important in my personal evolution. At that moment, a storyteller was born.

Now let’s get down to business. Story time is fine and dandy, but all of you waveriders out there are really here to find out about new and exciting music. With that in mind, I’ll get to the matter at hand. You probably haven’t heard about them, but there is an energetic trio of musicians operating out of Berkeley, California. They go by the name Green Day and I have a feeling based on their first major label album, Dookie, that these guys might have a future in this business. Just a feeling mind you. I could be wrong, but let me explain myself.

Waveriders, I like punk rock. Yes I do, and I’m not afraid to say it. I know that there hasn’t been a really popular punk band on the radio or MTV in the past few years, but I believe that the time is right for some quality act to revive interest in punk rock with the youth today. Grunge is good, but there has to be something else out there to add a little variety to the current musical landscape of the 1990s. Maybe not a pure punk rock band that sounds like a carbon copy of originators like The Ramones, The Sex Pistols, The Buzzcocks, etc., but a band that builds upon punk’s solid foundation and adds a wrinkle or two. Perhaps this band could hold onto a lot of the punk snarl but add more pop sensibilities to the mix. Well folks, that band has arrived. That band is Green Day.

Dookie is a fourteen song monster of an album! Seriously, it’s frightening! It may be the single most infectious collection of music that anyone will hear this entire calendar year. The first single off the album, “Longview”, is already a massive hit. And why shouldn’t it be? You’ve got Mike Dirnt’s extremely memorable bass line and Billie Joe Armstrong’s edgy lyrics coupled with massive choruses boasting ultra-crunchy guitar and explosive drums. Actually based on the ridiculous strength of all the songs available, I wouldn’t be at all surprised to find this album still charting in 1995 or beyond.

It’s anybody’s guess what the next single will be, but my money is on “Welcome To Paradise”. This song is all about power. It’s in your face immediately with muscular guitar riffs, but what really floors me is the out of control locomotive drumming. One second everything seems normal and the next Tre Cool seems to have grown another couple of appendages for use on lightning quick drum fills. Awesome! Another strong contender for the next single has to be “Basket Case”. The hook on this song is so fantastic I guarantee you won’t be able to get it out of your head for weeks on end. Pop-punk indeed! Lastly, if the powers that be at Reprise Records really want to reel in every young person possible, they will release the song “When I Come Around”. Trust me Reprise Records. This is a modern day alternative anthem waiting to happen!

Waveriders, punk rock may have taken a break from the limelight in the dark days of the late eighties/early nineties, but rest assured that it’s back thanks to Green Day. No it’s not your parents’ punk rock. Green Day is a little poppier, a little more refined, but still bursting at the seams with aggression and attitude to spare. The musical landscape is about to change. Pick up a copy of Dookie and be a part of the revolution!

--Penfold

My First Album - Motley Crue - Shout at the Devil

2012-01-03T00:38:00.000-08:00

Ah, the first album I ever bought with my own money. To be completely honest, I haven't a clue.

You see, I had an older brother who was well into bands like Iron Maiden, Ozzy Osbourne, Black Sabbath, and a whole harem of Metal Bands. He always seemed to have a new cassette of some new rock band, which I later learned was always supplied by his knack for getting "Five Fingered Discounts." But this was my introduction into Metal, and I was influenced good and proper by my older brother.

Although, I had free access to everything that rocked under the sun and can't remember the first album I ever bought with my own dough, I remember the first album that changed me forever from a rebellious kid with a knack for getting into trouble into a monstrous rebellious kid always getting into trouble.

That album was Motley Crue's Shout At the Devil. I remember seeing the cassette cover on my brother's night stand and was like, "Whoa! What the hell are these guys about?" To be honest, I couldn't tell if they were really ugly chicks or some crazed, psycho's.

The title of the album alone was too intriguing to pass up. I had to hear what these guys were about, so I lifted the cassette off my brother's night stand, popped it into my shitty tape recorder and played the sucker.

What came out was heavy, snarling, and quite delicious to my ears. I fucking loved it. Back then, Motley's sound was considered "Heavy Metal" and they were heavy. Now, they're considered "Hard Rock." Whatever.

It didn't matter. Motley was the band that converted me full on to the sounds of Hard Rock and Metal.

Now, I do remember the first album I owned. I'm not sure if I bought it or how I got it, but I do know it was the first album I considered my own. That album was unfortunately Bon Jovi's Slippery When Wet.

What the fuck? Yes, I still slap my forehead on that one, but I didn't have that cassette for too long. I remember some chick in 5th grade talking about wanting Bon Jovi's album, and I told her I had it. She said she would trade it for Beastie Boy's Licensed to Ill, and you bet your ass it was the best trade I ever made in 5th grade.

--Boogs

My First Album - Judas Priest: Sin After Sin

2012-01-03T00:02:00.000-08:00

The heaviness pretty much all started for me when I was a young teen, with the earliest Judas Priest that came out in the mid to late 70's. Now that I think about it, they could be one of the reasons why I don't put a lot of focus on vocals in some of my music these days. Since I grew up listening to everything Rob Halford, nearly every other singer pales in comparison anyway.

I was...let's say, 'under the influence', when I heard a friend play "Victim of Changes", from their second album, Sad Wings of Destiny. I couldn't find that one at the store, so the first cassette I can remember buying was their third, Sin After Sin. Released in 1977, it was produced by Roger Glover of Deep Purple, and it's one of my favorite Judas Priest recordings. I can't tell you how many copies I went through before the digital age began.

Halford's incredible piercing screams abound in "Dissident Aggressor", which I think is the album's most pummeling track. I hadn't heard anything like it at the time and the Tipton-Downing dynamic guitar duo blew me away. I was hooked from then on.

After listening to Sin After Sin again for the first time in a while, and analyzing more deeply, I remember it was about the time when some music started affecting me on a deep emotional level, too. Tossed between divorced parents and feeling abandoned, I often turned to music for comfort and release. I recall that I could really relate to the lyrics in the "Here Come The Tears". All alone. No one cares. Won't somebody love me? I never knew music could be so powerfully touching. Wow...it's all coming back to me. I needa minute, here they come.

Okay, I'm back. So If you haven't heard this album in a while, it's time to revisit your old friend. If you've never heard it and you don't have it, then you should be ashamed of yourself. There's nothing like early Judas Priest and Sin After Sin. Nothing.

--Heddbuzz

My First Album - Kiss - Destroyer

2012-01-02T00:52:00.000-08:00

Something new for the new year. We decided to start the first week of the year by asking our Ripple scribes to tell the story of the first album they ever bought with their own money.

So without further ado:

We shouldn't of been there.

Each passing second I was sure we were gonna get caught.

Maybe that's why we did it so often.

The "city" of Walnut Creek was only about 7 miles away from the small ranch town where we lived, but when you're 12 years old, it may have been in another state. To get there, Brian and I had to take the County bus, which took a "forever" amount of time for an impatient kid. But it was worth the trip. At the end of the line was Gemco, one of the first Club stores. We didn't have membership
cards, but sneaking in for a 12 year old was a snap; just walk in closely behind a group of adults and no one ever bothered to ask us for our cards.

Why we went to Gemco so often, I'll never remember. But we did. Maybe it was the thrill of the sneak. Maybe they had good hot dogs. I don't know. All I know is albums were $3.98 there and that's where I bought my first one. I had a pocket full of money that I'd managed to save from my paper route and hadn't blown in a fever on comic books and candy. I hadn't gone there to buy a record, I probably was there to raid their comic stand, but . . . there it was. Four grotesquely fascinating figures. Super heroes, really, rising to the peak of a mountain, a world in flames around them. I'd heard of the band before, from my best friend's older brother who knew all the cool bands, but I'd never heard them. Never heard their music. But there it was. After one look at that cover, I had to have it.

The year was 1976 and Kiss Destroyer was mine.

I remember the bus ride home. The album freed from the bags, grasped in my sweaty hands. I didn't know who Gene, Paul, Peter and Ace were, but I was fascinated. They were like superheroes from my comics books coming to life. I'd heard one of them breathed fire. I'd heard one made his guitar explode. I'd heard one could levitate a drum set. I stared at the cover and imagined the endless possibilities of what awaited me. Arriving at Brian's house, we dashed to his room, ripped his Elton John lp off the quadraphonic stereo (all he ever listened to), dropped on Kiss and waited. Adrenaline shot through my body in anticipation. I felt devious, almost subversive. Surely, what I was about to hear would change my life, and corrupt me, and take me to the threshold of entry into adulthood. Like an initiation ceremony. A rite of passage. My manhood stood before me. I waited.

The long intro to "Detroit Rock City" came through the stereo and I had no idea what was going on. My record listening experience until then was Neil Diamond, Cat Stevens, and Simon and Garfunkel. What was this car starting? Radio changing? Then . . .the riff came, that glorious rumbling intro, and Peter was pounding and Gene was thumping and Paul was singing and Ace was soaring. "You gotta lose your mind in Detroit, Rock City!"

And I did. That little 12 year old lost his mind. Corrupted and somehow altered.

I've purchased literally thousands of albums since then and tens of thousands of CD's, but like your first car, you'll always remember your first album.

So how does that album sound today. How does it hold up after all these years?

It's Kiss. It's Destroyer.

You gotta lose your mind, in Detroit Rock City.

--Racer