Tuesday, November 24, 2020

The Xroadie Files

Noi!se- Welcome To Tacoma

Matt - Vocals / Bass, Nate - Vocals/ Guitar, Jesse - Guitar , Kenny - Drums


Dull the Pain sitting around strumming guitar and singing with friends. So I Drift Away floating on a cloud of memories. Rank And File close your eyes and dream. Rising Tide strumming singing and just enjoying the music.



Ritual Earth – MMXX

Steve Mensick – Guitar, Chris Scott – Bass, Chris Turek – Drums, GFA - Vocals


Solar Ecstasy drifting along in time and space with some amazing music. Escape Velocity slow crunchy melodies with sing along vocals and crunchy riffs. Free From My Vessel just floating on a cloud of melodies and memories. Reprisal/ Nebulas Diabolos low bass rumbles then crunchy riffs and emotional vocals slide in. I Am Dreadnaught slow bluesy psychedelic metal acid rock with scorching leads. Distress Signal slow fist pumping foot stomping stoner rock metal madness. Ascension Dimension drifting away in your imagination.



Schwarzer Engel – Kreuziget Mich

Dave Jason – Vocals/Guitar/Programming, Vincent Hübsch – Guitar, Timo Joos – Guitar, Bert Oeler – Bass, Tino Calmbach – Drums


Kreuziget Mich catchy riffs Gothic vocals and crunchy riffs. Teufel the music pulsates thru your very imagination. Paradies (Orchestral Soundtrack) slow melancholic music that pulls you into your dreams. Kreuziget Mich (Club-Remix) pulsating tones just envelop your very being.



Painted Doll – How To Draw Fire

Dave Hill – Vocals/Guitars/Bass/Keys, Chris Reifert - Drums/Guitar/Bass


Sun On The Sea the music slowly envelops you with many emotions and a catchy rhythm. On The Ropes just get on your feet sway and groove along. You Were Everywhere catchy riffs crunchy rhythms and sing along vocals. Slow Armageddon take a trip back to the 70s and just enjoy the musical journey. Blue Postcards close your eyes and just let the music envelop your senses. When I Left Home will have the crowd on its feet just rocking away. Cheap Kicks strumming guitar singing and just enjoying the night. Idlewind just let the memories flood your dreams. Get You High Tonight just take one magical musical trip. Midnight Morning foot stomp clap sing and shout. Dollhouse Rock just a fast heavy melodic fun tune. Leave a Light On just let the music envelop you as it pulls you along.



Godsnake- Poison Thorn

Torger – Vocals, Stevo – Guitar, Malt - Guitars Walt – Bass, Sidney - Drums


Urge To Kill thundering drums thumping bass crunchy riffs and powerful vocals. Poison Thorn hit the pit and just mosh till you g drop. Sound Of The Broken fist pumping head banging sing along metal magic We Disagree will have the entire crowd on its feet fist pumping moshing and chanting. Stone The Crow shredding guitars thumping bass pounding drums and screaming leads with excellent vocals. Darkness just pulls you into the dark recesses of your dreams. You Gotta Pay has a very catchy rhythm that just envelops you. Blood Brotherhood fist pump chant and rock out. Hellbound Ride hop in your car crank up the tunes and just jam away. This Is The End will have the entire crowd involved with a catchy crunchy song.



Foot Premieres New Music Video For Upcoming Single "External Forces", Out 11/27!


Foot is a band from Melbourne, Australia.  This track will be released on 27th November as part of a split 7” neon green vinyl with fellow Copper Feast Records outfit Sleeping Giant.


You can check out both bands via the links below:



Both tracks were recorded at home during lockdowns in Australia as the bands experiment with new sounds after successful LP releases earlier in 2020. The tracks are intended as a bridge between these last albums and their new records which are both slated for 2021.


Foot's track is themed around trying to cut back on drinking but being unable to.


Sleeping Giant's track is already out, and more info is available on it through their Bandcamp page.


Monday, November 23, 2020

SODOM: German Thrash Metal Icons Unveil "Friendly Fire" Video; Genesis XIX Nears Release In North America Via Entertainment One

German thrash metal legends SODOM today release their new single and video for the song "Friendly Fire." The track is taken from the upcoming studio album Genesis XIX, set for release on November 27th via Entertainment One ("eOne") in North America and Steamhammer/SPV in Europe.


Notes bandleader Tom Angelripper, "So, here it is ... my favorite on this album. I can hardly believe or indeed describe how much I love this song. I'm pretty sure it sets the direction for our next album. And in the meantime, I'm convinced that it's the clever sequence and combination of notes in our twelve equal system that makes music (generally) so diverse. Lord, I wish we'd known that back then. Often in a war situation, soldiers find themselves having to direct their weapons against their own comrades who are holed up close to enemy positions. These victims were accepted as part and parcel of the overall victory. Large numbers of supposed enemy planes were also shot down..."


View SODOM's "Friendly Fire" at THIS LOCATION.


View the band's previously released videos for "Sodom & Gomorrah" HERE and "Indoctrination" HERE.


From unadulterated thrash metal tracks "Euthanasia," "Dehumanized," and "Friendly Fire" to off-the-grid numbers such as "Occult Perpetrator," SODOM delivers a wide range of facets of their signature sound. This inventiveness also applies to the lyrics on Genesis XIX, with vocalist/bassist Tom Angelripper presenting, as usual, his very own range of subjects: "The Harpooneer" is based on Melville's Moby Dick novel featuring the obsessive Captain Ahab, "Glock N' Roll" is the story of a serial killer, "Waldo & Pigpen" is an homage to the same-named US fighter pilots, whose radio traffic during their mission in Vietnam has survived, and "Nicht mehr mein Land" describes the condition of western society.


Genesis XIX - recorded by Siggi Bemm and mastered by Patrick W. Engel - comes shrouded in the cover art of Joe Petagno of Motörhead fame. The record will be released as a CD digipak, exclusive 2xLP (on translucent orange with opaque silver swirls - an eOne store exclusive), and digitally.


Find preorders at THIS LOCATION.


Following the first relaxation of the lockdown rules stemming from the 2020 pandemic, SODOM immediately returned to working creatively, which is one of the reasons why Genesis XIX has turned into precisely what the musicians had in mind. "This is definitely one of the toughest and most diverse studio recordings that SODOM have ever released," notes Angelripper. "Our riff suppliers, Yorck [Segatz] and Frank [Blackfire], are totally different types of musicians. Yorck is a died-in-the-wool metalhead who grew up with thrash music. Frank, on the other hand, also integrates blues and rock elements into his style, including the occasional Frank Marino or Rory Gallagher quotation, and writes songs that could have featured in the same or a similar way on Agent Orange. These are the diverse influences that make Genesis XIX what it is."


In addition, there's a third level that nobody expected after the - as Angelripper expressly emphasizes - amicable split with drummer Husky. "In [new drummer] Toni [Merkel] we've gained an awesome drummer. I'd even go so far as to say he's the best drummer that nobody had on the radar before now." Especially since Merkel also has, along with his furioso style, a number of other important qualities, namely his stints with death metal act Sabiendas and a number of other black/death metal bands, where he played drums and doubled as a producer. Thus, he's been a dab hand at studio technology and recording. "We were largely autonomous during the production of Genesis XIX and were free not only to concentrate on working on new songs but also to come up with the right sounds. That was important because we use neither digital amps nor plug-ins but played all the guitar parts using proper Marshall tube amps." Following the preproduction, SODOM completed the work at the renowned Woodhouse Studio in Hagen, where sound engineer Siggi Bemm recorded Angelripper's vocals and mixed the album on an analog studio console.


"Team Angelripper are firing on all cylinders as if it's 1988 again. From the brutalizing leadff track 'Sodom & Gomorrah' through the blast/groove of 'Nicht Mehr Mein Land' and the Repulsion-esque/thrash treatment of closer 'Friendly Fire,' Genesis XIX never relents..." -- Decibel Magazine


"Tom Angelripper's voice is STILL amazing, he gets rough sounding without going 100% death metal... Every riff here is a banger, which is no small feat considering this clocks in at about an hour." - Decibel For Those About To Squawk Column


"This record could have fit right into the band's Agent Orange era, yet balances that vintage feel with modern elements. Angelripper sounds reenergized and recommitted to taking SODOM into its fifth decade without regret or apology, and the band as a whole seems reinvigorated on Genesis XIX. This is a crushing slab of sonic brutality to close out a somewhat dystopian year where fans need such distraction the most." - Metal Nation


"...one of the strongest efforts in the history of SODOM..." - Metal Observer


"...Angelripper is in exceptional form throughout... a dense collection of headbanging turmoil." - Sea Of Tranquility


"...fast, angry, a soundtrack for the Wall of Death fans who can't wait to see SODOM again live." -

The Rock Pit


"SODOM have outdone themselves here. An unrelenting release schedule and dynamic approach to the genre has given us some of the bands freshest material in ages. There's something weirdly reassuring in the fact that despite it all, Tom Angelripper is still REALLY fucking angry. The bloodthirst throughout this album is palpable, and the performances are all-around thrilling. SODOM wants you to get in the fucking pit and to suffer with them. If you're not ready for the madness and mayhem, then German thrash metal is not for you." - Two Guys Metal Reviews



Tom Angelripper - bass, vocals

Frank Blackfire - guitars

Yorck Segatz - guitars

Toni Merkel - drums



Sunday, November 22, 2020

A Ripple Conversation With Timon Moolman, Lead Singer Of King Park

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

What have been your musical epiphany moments?


I moved to Nashville and went to the Contemporary Music Center for an Artist/Song Writing program. The director’s name was Warren. Picture a less bald version of Fletcher from Whiplash. Warren was worth every cent of that program and was a cause of many musical epiphany moments for me, completely changing how I played live and wrote songs. I’ll never forget when he stopped me in the middle of my first performance of a new song. In front of the whole audience, he just said “Timon, your singing is awful in this song - I hate it, you gotta stop. Just speak the words instead - no more singing.” And that is how our first single Stay was born.


Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?


Generally speaking, we write every song in one of two ways. We will jam with some or all of the band and we will riff off of something until we feel we have something good. Then we will record it instrumentally on my iPhone and I will obsess over the lyrics and melodies and bring certain ideas to the guys for them to hear and comment on. This way takes a bit longer because everyone has their own idea of direction, but it has turned out some of our coolest songs. The other way, which we used a lot for our upcoming album Everett, is that I will wait until I get my heart destroyed by a terrible breakup and will sit in our bassist’s backyard and write songs in a haze until the sun starts to rise.


Who has influenced you the most?


Probably, Andy Hull - Manchester Orchestra is a huge influence on the band and Andy has always been a legend in my mind. The dude dropped out of Highschool and released songs at 17 that are still some of my favorites (Colly Strings? Are you kidding me?).


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


My band and the people closely involved with the band (like our producer Glen) are a huge source of all of these things. Their support, dedication and skill are so important for me to keep going. I’m always excited about the next project because I know these people are determined to make it excellent. Our friends and fans have always been huge for motivation as well - some of our fans have consistently driven from hours away to make it to every show (I’m talking to you Corn Teen Bois)


We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?


God bless Hamilton, Ontario. It’s grungy, it’s raw and it keeps it real in a beautiful if somewhat chaotic way. All of these characteristics are what King Park strives to be.


Where'd the band name come from?


Coming up with the band name was a tough decision, but when we heard La Dispute’s song “King Park” it hit us right where we live - so we decided to roll with it.


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


Nacho Libre 2. We’ve been dying to get the Spanish Guitar and some trumpets going.


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


Mr. Brightside. I have so many things to say about that song, the trick would be keeping it to 1000 words.


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


One time, through a series of unfortunate events and miscommunications, we found ourselves at a talent show for preteen girls doing karaoke and dance. Instead of going home, we got on stage for our time slot, turned up to 11, and played our heaviest song. We didn’t win, but we left with no regrets.


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


Our live shows are either heavier or more chill than our studio work. This is because, when we can, we like to scream and give a ton of energy live. But because of the nature of our music scene here in Hamilton, we find ourselves playing a lot of stripped-down/acoustic shows. The first time we set one of these up was due to a lot of the heavier bands we were supposed to play with dropping out. As most of our friends play acoustically, we had them fill the spots and played stripped-down versions of our songs. It was an absolute success. The show was so fun, and we have been keeping these versions in our back pockets ever since. These shows also started effecting our songwriting and we have an acoustic version of our first single from 2017 coming out this month!


What makes a great song?


This is a tough question. I want to say that lyrics make or break a song. If the lyrics hit me I can be pretty open-minded with how they are delivered and the instrumentation behind them. But at the same time, a great song doesn’t need any lyrics at all to hit you in the feels (Explosions in the Sky, Caspian). I guess the ability to express an emotion deeply and profoundly (no matter the emotion) makes a great song.


What one single album do you wish that you'd written or performed on, and why?


I always wished that I could have played for a big hardcore band. That genre was my favorite growing up - I just lived for the high energy pits. I think being up there and throwing down with a band like Architects or Counterparts would be so fun.


What piece of your music are you particularly proud of?


I am proud of the way we play live. We practice hard and have come a long way. I think that we are worth seeing, I think the dudes up there with me are incredible musicians, I think we are continually improving and trying to make our live show special - and I am proud of all those things.


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


There are a couple of albums that I have a tough time listening to because they are just so good that it makes me want to throw my guitar in the trash, get a haircut and start selling bonds or however that works. Microwave’s Much Love hit me like that - Pinegrove continually doing that, Citizen’s Youth was unbelievable. I’ve also seen the Manchester Orchestra live and physically felt my ass getting kicked.


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


CDs! I love them, I had a large collection before they all got stolen along with my truck. The truck was a blow, but the CD binder was absolutely below the belt.


Whiskey or beer?  And defend your choice


Whiskey. But I like it too much. So, I usually go with the safer option of beer :)


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


My hometown is Hamilton, Ontario and you’re gonna wanna stop at Dr. Disc. They put on rooftop shows and carry a bunch of local Hamilton artists.


What's next for the band?


We are opening for Ellevator on November 28! Shows have (obviously) been hard to come by these days so we were really looking forward to this one.


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


Please go check us out! We really hope you will like it! If you do, give us a follow for more tunes coming soon!

Saturday, November 21, 2020

Texas psychedelic blues-doom veterans WO FAT announce new album on Ripple Music; first three records to be available for the first time in the US!

Chief purveyors of Texas-sized psychedelic doom WO FAT once again join forces with US label Ripple Music, for the upcoming release of their awaited seventh studio album — and followup to 2017's acclaimed 'Midnight Cometh' — next year. Ripple Music is also set to reissue the trio's first three albums in the coming months, making these long out-of-print classics available to North American fans for the very first time.


Over the course of a sonic odyssey which spans six studio albums, one live recording and two splits, Texas' very own psychedelic doom mongers WO FAT have stayed true to the deep, dark blues that wail from within and have continually infused their riffs with primal grooves. Having secured their legendary status within the stoner rock community by appearing on much coveted bills at Roadburn, Desertfest, Freak Valley Festival, Hellfest and Psycho Las Vegas, the band's latest release and collaboration with Ripple Music, 'Live Juju: Freak Valley' seemed to be the perfect follow-up to their critically acclaimed 2017 album 'Midnight Cometh'.


While WO FAT have just confirmed the release of their seventh full-length in the fall of 2021, Ripple Music will repress the band's long out-of-print Nasoni Records albums from days past, starting with 'Psychedelonaut' (2009) in the spring of 2021, followed by 'The Gathering Dark' (2006) and 'Noche Del Chupacabra' (2011) in 2022.

All upcoming reissues will be available on black vinyl and limited edition colored vinyl with new liner notes, for the first time ever to North American fans.


“Wo Fat have cemented their status among stoner metal’s prismatic visionaries.” Metal Hammer


“An immersive experience in which stoner grooves and metal riffs jostle for air in a churning tide of psychedelic juju.” Classic Rock


“They’re the intersection of Kyuss’ anthemic Sky Valley-era stuff, Clutch’s doom rock boogie, Electric Wizard’s Sabbath-on-cough-syrup apocalyptic mist, and, duh, Sabbath itself.” MetalSucks


After over 12 years of slinging their Texas-sized psychedelic blues doom, WO FAT is going stronger and rocking harder than ever, as they continue their swampadelic vision quest of overdriven, fuzz-laden riffag eand jazz-minded jam explorations, and with six studio albums, a live album, and a couple splits under their belt, Wo Fat has gained a reputation as one of the premier US Stoner Metal bands. Starting with 'The Gathering Dark' in 2006, they have stayed true to the deep, dark blues that wails from within and have forged their riffs with a primal grooviness, giving them a consistency of style, even while they have progressed and matured as a band, with their musical forays getting heavier but also trippier at times.


2009’s 'Psychedelonaut' really began to solidify the WO FAT name, garnering them wider critical recognition, leading to releases with Nasoni and Totem Cat Records and then on to their two most critically acclaimed releases to date, 'The Black Code' (2013) and 'The Conjuring' (2014) both released on Small Stone Records, with 'The Conjuring' landing on NPR’s “Top Ten Metal Albums of 2014” list, among numerous other “best of” lists. During these last few years, Wo Fat has made appearances a number of iconic festivals in Europe and the US, Wo Fat teamed up with Ripple Records to release 'Midnight Cometh', a slab of riffage that is possibly their most daring psychotropic exploration of heaviness to date.


With voodoo drums beating and molten blues-tempered waves of guitar riffery, they are carrying on the Wo Fat tradition of keeping things heavy and fuzzy, but also groovy, which, all too often, is a missing element in much modern heavy music. You can hear the echoes of field hollers and that oft forgotten “way back yonder funk” that fuel the fire that burns deep in the swamp at the witching hour. You can feel the rush of living on the edge and glimpse a phantasmal Coltrane in your peripheral vision as they careen through improvisational jams. And all this with an unrelenting metal heaviness underscoring apocalyptic lyrics that conjure visions of the end of an age, (our age?) and black midnight bargains and the consequences reaped. While Wo Fat may be speaking a familiar language to the apostles of the riff, there isn’t anyone that sounds quite like them.

WO FAT is:

Kent Stump – guitar, vocals

Michael Walter – drums

Zack Busby – bass



Web | Facebook | Bandcamp | Instagram



Website | Facebook | Bandcamp | Youtube | Instagram

Friday, November 20, 2020

A Ripple Conversation With Luca Pasini, guitarist of the band Arya

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


What have been your musical epiphany moments?


I clearly remember hearing for the first time Hope For Happiness, the opening track of the first Soft Machine album. It was during the first years of high school, I had only been into rock music for a few years, and I had never heard something like that: no chorus, just those double psychedelic vocals, then the whole band joined and there was this stunning distorted organ solo at the end. I think I had found the band on a big book called “Rock Encyclopedia” I had at home, where I had also read about King Crimson, and I had just discovered you could find music on Youtube. At first I felt almost afraid to listen to that song too often. I think that band has influenced my music in a really immeasurable way. The double vocals at the beginning of the song Roma on our new album For Ever are really a homage to that song.


Since then I’ve had many other similar musical epiphanies: for example when I first listened to songs like Second Son of R. by Oathbreaker, Leak Water by Bent Knee or Too Much by Sufjan Stevens.


Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?


Usually the lyrics come last. Sometimes I randomly come up with something interesting while I’m playing an instrument, I record it with my camera or on the computer and try to develop that idea. Sometimes I pick up an instrument with an idea in mind of what kind of mood I’d like to express (usually a really bad one) or, more prosaically, of what song or band I’d like to imitate.


I try to put great care into building the structure of a song, whose main idea could be mine or by someone else in the band: the usual one with verses, choruses, bridge and solo usually doesn’t work right. Sometimes you feel what you have in mind needs a long time to fully express itself, sometimes a short and direct song is enough: what’s important to me is the coherence of all the parts. One shouldn’t feel lost inside a composition where different sections follow each other without a common idea or without reminding one another by sharing some similarities in note choices or rhythm patterns. You also help the listener to feel home by making parts come back in a different version, or by making the whole thing start again, but head in a different direction afterwards.


Nonetheless, even if it’s usually me who focuses more on making the structure of the song flow well, each one in the band usually creates his parts while we’re rehearsing or recording together.


Who has influenced you the most?


I have to name my bandmates first, whoever they are: when I have to decide on which ideas to work on in order to propose them to others, I really like to make sure each of them will enjoy them and will have something to add with their own style and taste.

In a more general sense, during my life I’ve been influenced by countless musicians. Most have influenced me musically, some also in a more existential sense: among the famous figures I’ve admired the most are Robert Wyatt, Omar Rodriguez-Lopez, Steven Wilson and Ben Levin.

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


I listen to a lot of different music (sometimes I’ve come up with songs, read many books, watch some good movies, but most of all I try to survive in this wild world and live my life. What happens to me and others day after day, the feelings I experience and my personal reflections on what I see happening have probably always been my main inspirations.


We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?


We’re from Rimini, a city on the East coast of Italy that’s quite famous internationally as a seaside resort. The landscape of the city, especially the views of the empty beach and of desolate hotel neighbourhoods in winter have really influenced the visual imagery of the band during our first years, for example in the artwork of our debut record In Distant Oceans. I don’t know if this has been true for our music as well: for sure we have nothing to do with the hectic nightlife Rimini is famous for. Our music has always been full of hidden field recordings, but now that I think about it, none was recorded in Rimini itself, but rather in other cities, such as Bologna, were I went to university, Rome (where I’m currently living part-time) or in rural areas.


All that said, Rimini is not really an ideal place to grow a fan-base for a band like us, as there isn’t much people interested in live music in general, even less care about heavy music, and even less about the less codified and more experimental kind of music that we make. We often try to set up concerts and to promote them, but there’s just not a big audience interested in watching rock and metal bands playing live. Most of the fans of the genre are also older than we are, so it’s difficult for us to reach them by, for example, hanging out together.


Where'd the band name come from?


When we first formed and were looking for a name, we struggled quite a bit to find a simple and effective one that hadn’t been taken by others and wouldn’t be associated with a specific genre of music. I was studying for an Indian philosophy university exam at the time, and I came across the word Arya, which is an adjective that means “noble”, or “aristocratic” in Sanskrit. As it seemed like there were no bands with the same name, the other members at the time accepted it.


Only later I found out that there used to be a band somewhere in Russia with the same name; however, way more famous is the character with the same name from Game Of Thrones: not being confused with her on search engines is the main reason why we quickly added “Italy” on most of our social media profiles.


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


Among many active and relatively young film directors, I really admire Pawel Pawlikowski. If you’ve seen the masterpiece that is his film Cold War, you’ll probably be aware of how important is music in his work and how good it is. I wish I was good enough to work for him! Nonetheless, I’m currently studying at a quite famous cinema school, where I’ve some directing students and I may for real beg one of them to let me compose something for him in the future.


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


I may choose Everything Now by Arcade Fire. I did put some lines from that song on the opening page of my master’s degree thesis, which was about the influence of information technology on our perception of the world, and its relationship with classic rationalism. I think that songs really expresses the uniqueness of what the internet has brought into our lives, and how its consequences aren’t totally good and positive. I guess I would find something to say on that topic.


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


My most hardcore moment on stage was when I fell on my back while running backwards. I think that, after the dramatic events that hit the band shortly after that live performance, that took even more of my energy away from me, I stopped moving so hysterically on stage.


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


So far we’ve never used backing tracks or a click, so you can experience our music with all the mistakes and imperfections, but also with all the raw energy we can give. Our music has always been some kind of catharsis for us all, and this is true for our live performances as well. We try to be our music, to incarnate it, just like our music is an image of us, of our fears, our regrets.


What makes a great song?


I think it’s a matter of many different factors: good formal elements (harmony or rhythm patterns), a good song structure that makes every part reach its potential, a good arrangement, good lyrics, a good choice of sounds, a good performance by the musicians and a good recording. But I think in a really great songs all those aspects have to be coherent with each other, and work together to communicate effectively what the song is trying to say.


Tell us about the first song you ever wrote?


It’s called Red Years, and it’s a ballad about love. The song name is similar to the literal English translation of the Italian name of I girl I liked at the time. I played it with my first ever band, called OOP27, that included Alessandro Crociati, who’s now the drummer of Arya: I had created a very psychedelic drone on my old keyboard using the sustain pedal and the pitch wheel with a pad sound. After a few years, I played and recorded it with another band called State Male, whose vocalist was Virginia Bertozzi, who later joined Arya for a while, singing on three of our albums. Meanwhile I had picked up the guitar, we added two guitar solos, and gave an overall much more “hard rock” feel to the song, which you can listen here: https://youtu.be/bndl-NG56zk


What piece of your music are particularly proud of?


I would probably say Apple Body, from our 2018 album Endesires. Not because it’s the longest song we’ve ever recorded so far, but because I think it’s well crafted, ideas come back in different variations, sometimes heavy and sometimes soft. It’s probably a good representation of what Arya can do overall but, most importantly, everyone is playing with passion on the recording, vocals are really intense for me, and it reminds me of a happier time in the history of our band I really miss now. That’s why I never listen back to that recording!



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


I’ve been impressed by the American art rock band Bent Knee since the first time I’ve heard them: they’re young, have put out many records in few years and still have a lot to say. I think they just master the art of clever and effective songwriting, taking inspiration from many genres while always sounding like themselves. They also deliver really intense live performances (which I’ve only watched on Youtube so far).


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


I like to have CDs of bands I like because I can listen to them while I’m driving and experience an album from start to finish without many distractions (except for careless drivers). Overall, digital is the format I use the most to listen to music, because I can think of a song, look for it and listen to it in a matter of seconds: we’re the first generation to be able to instantly have access to most of the music ever recorded, and I think it’s a huge opportunity we have. Sadly, digital is also doing much harm, in my opinion, to originality in music, above all due to how streaming services are presenting it to people: they feed everyone with music they know each person will like, so it’s getting more and more difficult to be surprised by unexpected music, few huge record labels are almost monopolizing the audience, gather almost all the few money left in the business, and every artist is basically forced to adapt to each genre’s ongoing trends in order to reach someone through them.


Whiskey or beer? And defend your choice


Definitely beer: I don’t drink many alcoholics, and when I do a small, light wheat beer is just right for me.


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


There are not many left in Rimini: I’m just aware of a small one in Via Sigismondo, in the city centre. I think the best choice for you would be to cross the border into the Republic of San Marino and head to the Music Store inside the Atlante Shopping Center in Dogana.  It’s not huge, but you can find most famous artists, and the different taxation there makes prices a little lower. That’s where I usually go if I need something new to listen in my car.


What's next for the band?


We really don’t know, right now the second wave of the Covid pandemic is hitting Europe, and I can’t even tell for sure if I’ll be able to meet with the others in the band again next week! I’d like to play shows again to support the new album, maybe to work on some totally different new music, but right now it’s impossible for everyone to know when it will be possible again.


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


Well, thank you for reading this far, I hope I haven’t been too boring! If you’re curious to hear what Arya sounds like, including the new album For Ever we’ve just released, you can find us and our music here:


Facebook: https://www.facebook.com/werearya

Instagram: https://www.instagram.com/werearya

Youtube: https://www.youtube.com/c/aryaitaly

Spotify: https://open.spotify.com/artist/4WfuNd1szecUkB9alBgTdK

Bandcamp: https://werearya.bandcamp.com

Our Most Sorrowful Release of 2020...

Was without a doubt Forever Gone the stunning new solo record from Scott 'Wino' Weinrich. It was really an honor to work with this great man and unleash an incredibly potent and beautiful collection of music.


Forever Gone is cool too because it was the first release in our Blood On The Strings acoustic series. It might not be a heavy record for Ripple sonically, but it certainly plumbs the deepest emotions. How can you have dry eyes after tracks like 'The Songs At The Bottom Of The Bottle' or 'Crystal Madonna'?


This record is the sound of an American Original baring his soul and letting the rest of us bask in the magic of it. There is a strange and sublime poetry to the album that I think so many of us yearn for. It's this incredible sadness that makes it one of my favorite records of the year, Ripple or otherwise.


We've pressed this masterpiece on classic black vinyl and as a digipak CD. We also had galaxy swirl and blue splatter editions, but those have long since sold out. Seriously - people love this record.


So grab yours now - we aren't going to be able to repress them before Christmas so you're going to need to act fast as we only have a handful of copies left!


Buy it by clicking the button below or going here: https://ripplemusic.bandcamp.com/album/forever-gone

PS: This album really is one of a kind and it's got some truly raw and potent moments. It's perfect for the COVID era. Buy it now and have yourself a Wino Christmas!


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