Sunday, May 31, 2020

A Ripple Conversation With Katya Richardson


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 can think of two distinct moments that shaped my appreciation for music. The first being when I was really young and went to go see a live performance of Prokofiev’s ballet, Romeo and Juliet. This performance was the first time I was so affected by hearing an orchestra play - as I kid I never understood how music gave people goosebumps until that very moment, and I knew I had to be a musician. The second musical moment was another live concert. It was a live performance of Orphée by the late film composer, Jóhann Jóhannsson. What I love about his music is the simplicity of layers and themes, yet immense intimacy and complexity in depth and repetition. I don’t think I’ve ever experienced such a visceral connection with cinematic music as with this album. It’s also special to me because I was lucky to see Jóhannsson on tour with this album a few months before he passed away. It was a live, 2 hour set without intermission - I remember moments where I was staring into the ceiling of the concert hall, completely transformed.


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?


I usually start improvising at a piano, playing with various sounds in my studio, or recording layers of vocals and seeing what sticks. Sometimes my music is influenced directly by what I’ve been listening to. But I generally approach each project - whether it be a film score or a song - as its own entity, so the process is a little different each time. I would say that most of my music is naturally cinematic and emotive, and I like focusing on certain elements for each piece. I’m super into minimalist textures and vocal loops, and sometimes a whole piece is about exploring that. Other times, my jazz piano background kicks in and I find myself prioritizing melody and harmony.


In my most recent electrojazz release, Left From Write, the musical process was especially driven by the narrative, which is new for me. It was a dance collaboration with a choreographer, aiming to sonically reinterpret dyslexia. For me that meant creating an entirely new language for the piece, and completely disregarding traditional musical phrasing. I looked at it in terms of sound design, production, and experimenting with the stereo space as if it were someone’s inner monologue - playing with moments of musical saturation and focus. I’ve never interacted with something so thematically before!


Who has influenced you the most?


My background spans electronic, jazz, and classical, so I’m influenced by a lot of different music! Film scores, probably more than any other type of music, remind me why I decided to become a musician:The Curious Case of Benjamin Button by Alexandre Desplat is one of my favorites.


Classically, I’m influenced by minimalist composers like John Adams and Phillip Glass, and the electronic aspects of my music are largely inspired by the jazz-fusion in Flying Lotus’ work and the tactile, synthesized sound design of SOPHIE. As a composer, I aim to combine all of these influences in my work. A hybrid artist I really look up to right now is Isobel Waller-Bridge. I love how her recent score to Vita and Virginia (2018) showcases grungy electronics and traditional strings to both romanticize and modernize the 1920s. I think it’s super cool when genres collide, especially in a film score medium, and that balance is something I really aspire towards.


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


I’m inspired by various forms of art - whether it be dance, poetry, or film - and ambitious people and collaborators. As a creator, I’m very tactile, so I either need to be at a piano playing out ideas, doodling words or drawings in a sketchbook, or walking in a new city. That’s one way I try to solve writer’s block, is by still being creative but not limiting myself to one outlet.


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


I am based out of Los Angeles, California. LA is a great hub for all sorts of music, and live music is so easy to find, from acoustic sets on rooftops or summer concerts at the Hollywood Bowl. Being the epicentre of the film industry, the abundance of movie theaters and film music culture in LA has definitely been a large influence on me and the type of work I create.LA is a very diverse and progressive city, and I think my combining of influences of both urban and classical music reflects that.


Where'd the band name come from?


I use my own name as my artist name.


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


I’d love to score a drama or thriller with grungy electronics. I could never top Johannsson’s iconic score, but probably Sicario.


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 would write an essay on “Life on Mars?” by David Bowie. It’s one of my favorite songs. Something about the lyrics and instrumentation is so cinematic and theatrical, yet intimate and timeless. It’s one of those songs that transports me to another era.


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




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


Most of the music I make is usually pre-recorded and produced, but I hope to adapt a live synth and vocal set soon.


What makes a great song?


A good melody, original vocals, and meaningful lyrics are important - but I think a great song is the kind where instrumentation doesn’t really matter, and it can sound just as good fully produced out as it would on solo piano.


Tell us about the first song you ever wrote?


My father is a jazz musician, so the first piece I wrote was a duet for trumpet and piano so we could jam together.


What piece of your music are particularly proud of?


Left From Write is my first release as an artist and my first time properly combining all of my musical influences of classical, electronica, and jazz. So I think it really encompasses me as an artist. Almost a year in the making, I mixed, recorded, and produced everything, and it is probably my most detailed and extensive project to date. Musically, it is far more experimental than my film score work, but was such a blast to make! I loved recording my friend on sax, myself on vocals, collaborating with a choreographer, and creating beats from samples of everyday objects. It’s not every day that I get to write music that’s groovy and fun.


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


Billie Eilish and Finneas. Her whispery voice is so original and Finneas’beats are super unconventional. It’s refreshing to hear something raw and intimate in a sea of over-produced pop songs, and I think the grungy nature of her music redefines and questions what it means to produce a hit song. It’s crazy to me how DIY their setup is too - really goes to show that you don’t need much to create something great.


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


There’s nothing like listening to your favorite tunes on vinyl. The grain adds so much ambiance and warmth that I miss in digital formats.


Whiskey or beer? And defend your choice


Whiskey - much more versatile and full-bodied than beer.


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?


The best record shop in LA is Amoeba Music!


What's next for the band?


I am currently scoring an experimental dance film about plastic pollution in our oceans, and I’m excited to release that very soon! I’m scoring and singing on a number of other projects, but in the next year, I plan to develop a classical album and record with a string quartet.


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


You can stream my new album here:


Left From Write EP:


And follow me on Instagram for photos from the release:


Instagram: @katya.richardson



Thanks for having me!


Mos Generator and Void Vator covering QUEEN - Release coming July 24th

No virus can keep us down!!  Despite corona we're still working on the upcoming releases, and man do we have something special coming your way. On July 31st there comes a new small piece of plastic that you have all been waiting for, even if you don’t know it yet.

The release will take place in collaboration with H42 Records with whom we have collaborated with many times over the past few years. Therefore, in addition to the H42 Record edition, there will be a special Ripple Music Edition produced only for the US market.

Two great american bands each covering a song by one of the world's favorite bands: QUEEN
This release will not take any prisoners - look forward to two great interpretations of classic Queen songs!

RELEASE JULY 24th in different editions

US Ripple Records Edition on gold vinyln (ltd. 60 with OBI)
EU H42 Records Edition on clear vinyl (ltd. 60 with OBI)
EU Retail Edition on white vinyl (with OBI)
Retail Edition on black vinyl (with OBI)

PRESALE live now over at Ripple Webstore

TONY REED about 'Son & Daughter'

This song is a bit of an oddity because it features Jono on drums and original Mos Generator bassist Scooter Haslip taking on the low end duties. Son & Daughter is a song off of the first Queen album that Scooter and

I used to play in a band in the late 80’s so I thought it would be cool to bring him in for the track. Our take pulls from a version Queen did on the BBC in December 1973. We did some editing to help it fit

nicely on a 7” but still retain elements of the live version. I would say it’s the heaviest rock that Queen ever produced and a damn fun riff to play.

Tony Reed - May 2020

Side A 'Son & Daughter'

(original by Queen, B. May, 1973)

TONY REED / Guitar, vocals, keyboards, assorted instruments

Mos Generator formed during 2000 in Port Orchard, Washington from the ashes of a ten year off & on collaboration between it's three members, all of which are long time veterans of road & studio. The need to strip down to the basics of hard rock was apparent from the start and continues to be the foundation for all the bands recent material.

In 2001, the Port Orchard, Washington trio of Shawn Johnson (drums), Scooter Haslip (bass), and Tony Reed (guitars/vocals) emerged from the jam room and studio to the live stage as Mos Generator and began to shake the Pacific Northwest with their incendiary and uncompromising live performances. Between 2002 and 2007, the band four full length studio albums and, in 2008, released a collection of some of Mos Generator’s finest moments by way of “Destroy! The Mos Generator”. By 2008, the band needed a well deserved break to clean up their lives, follow a different muse, and to recharge the energies that make a hard rock band successful.

Side AA 'Tie Your Mother Down'

(original by Queen, B. May, 1976)

LUCAS KANOPA (guitar, vocals)

Los Angeles-based hard-rock/heavy metal VOID VATOR are striking since 2014, and have quickly developed a reputation as a take-no-prisoners live act. They collaborated with Grammy nominated producer Ulrich Wild (Pantera, Deftones, Metalocalypse) on their 2017 debut EP “Dehumanized” on WURMgroup. Void Vator dove back into the studio with world renowned producer Bill Metoyer (Slayer, DRI, Body Count) to record their 6-track self-released EP “Stranded”. Eager to once more take to the wicked ways of the road, the “Skeleton Crew” tour will take Void Vator further than ever before, spanning a full month and reaching out to northeastern US cities including NYC, Boston, and New Haven.

VOID VATOR position themselves as worthy heirs of the New Wave of Traditional American Heavy Metal with eight blistering and massive tracks. Counting on Bill Metoyer’s production skills (Slayer, Body Count), the L.A. four-piece is delivering a sharp, pedal-to-the-metal brand of heavy. “Stranded” is filled with impeccable hooks and driven by a contagious energy that will make any decent human headbang to death, the ‘metal up your ass’ way.

Saturday, May 30, 2020

ALESTORM Releases New Single & Official Video “Pirate Metal Drinking Crew”

[photo credit: Elliot Vernon]

Across the seven seas for a thousand years,

we're your greatest wish, we're your darkest fear!

We are the Pirate Metal Drinking Crew!


The notorious Pirate Kings ALESTORM release their long-awaited long-player Curse Of The Crystal Coconut today via Napalm Records! In addition, they present their latest single, “Pirate Metal Drinking Crew” - an homage to pirate life and… probably themselves! Rhythmic guitars, slapping drums and Captain Bowes’ rum-laden vocals weave throughout the song and will have it stuck in your head with the first listen - that’s a promise.

The song is accompanied by an audiovisual, taking you on a trip to Thailand – more specifically, to the studio where the “Pirate Metal Drinking Crew” recorded Curse Of The Crystal Coconut. It also features the legendary rubber duck (in a very different way than you might expect), the smashing of a perfectly innocent ukulele and purely crazy pirate madness. See for yourself!


Watch the new video for “Pirate Metal Drinking Crew” HERE:

The “Pirate Metal Drinking Crew” is back to show all the filthy landlubbers what they’re made of. ALESTORM’s sixth long-player, Curse of the Crystal Coconut, features eleven tracks presented in ALESTORM’s signature unadulterated, chaotic fashion. Adding to that are guest performances from musical greats like Ally Storch of SUBWAY TO SALLY (violin on the entire album) and Captain Yarrface of RUMAHOY!


A must-have, riff-laden anthem at any party, “Treasure Chest Party Quest” takes the listener onto a journey into the depths of the darkest taverns of “Tortuga” and Christopher Bowes’ unique sense of humor. The smashing, lively track “Chomp Chomp”, featuring vocals of Vreth of FINNTROLL, may make you never want to enter the open waters again, but will definitely entice you to dance along with its addictive melodies. “Pirate Metal Drinking Crew” is yet another foot-stomping anthem on the album that excels with a catchy rhythm and indelible hook. Be careful to not anger the great pirate Scurvy, or he might just unleash the Curse Of The Crystal Coconut with the brutal riffs of the “Pirate’s Scorn” upon you.


Whether the album makes you want to grab a fresh coconut and sip it or open up a nice bottle of beer – it will definitely lead to a wild piratical escapade. For the extra-adventurous pirates amongst you, ALESTORM will release a 2-CD Mediabook with ground-breaking 16th century interpretations of the songs. Be sure to get yours.


Order Curse of the Crystal Coconut HERE!

Be quick, most formats are already sold out!

Curse of the Crystal Coconut is available in the following formats:

- LTD Deluxe Wooden Box Set (including 2-CD Mediabook, exclusive 7’’ Single, Track Stems on USB Stick, Pendant, Flag, Postcards) - SOLD OUT

- 2 CD Mediabook - including 16th century interpretations of all songs

- 1 CD Jewel Case

- LP Gatefold BLACK Vinyl

- LP Gatefold RED Vinyl - SOLD OUT

- LP Gatefold GOLD Vinyl - SOLD OUT

- LP Gatefold PURPLE Vinyl - SOLD OUT

- LP Gatefold Silver Vinyl (Napalm Records US Store exclusive) - SOLD OUT

- Music Cassette + Walkman Bundle in Pirate Bag RED (strictly limited to 250) - SOLD OUT

- Digital Album

- Digital Deluxe Album


1. Treasure Chest Party Quest

2. Fannybaws

3. Chomp Chomp

4. Tortuga

5. Zombies Ate My Pirate Ship

6. Call of the Waves

7. Pirate’s Scorn

8. Shit Boat (No Fans)

9. Pirate Metal Drinking Crew

10. Wooden Leg Pt. 2 (The Woodening)

11. Henry Martin


Christopher Bowes - vocals, keytar

Gareth Murdock - bass

Mate Bodor - guitar

Peter Alcorn - drums

Elliot Vernon - keyboard


For more information, visit:


Thursday, May 28, 2020


A 10-Song Cycle of Genre-Bending Music That Uplifts and Inspires (July 31, 2020)

From Northern California to Music City to the “City with Soul”, Jason Daniels’ music reflects his range of influences. A little funky, a little jammy, a little bluesy,  with country influence and flavors of Latin and Caribbean thrown in. Daniels moves with ease between genres, while retaining a flavor that is uniquely his own.

Growing up in the Napa Valley town of St. Helena, he picked up the guitar at the age of 8 and wrote his first song by the age of 12. Daniels was inspired by his two uncles, George and Paul Richey who were well-known musicians, songwriters and publishers who started out at Sun Records in Memphis (George was married to Tammy Wynette). As an adult, Daniels spent many years traveling and creating adventures that inspired his first record. Eventually Daniels settled in Nashville, TN where he lived for 7 years and wrote and recorded his debut album, Dashboard Visions and Rearview Reflections.  Maverick Magazine claimed it was “full of soul and grit” and was an “…album well worth seeking out” and Daniels landed on the cover of the Jackson Free Press as an “artist to pay attention to”.

Downloads From The Universe is his follow up to his lauded debut. It was recorded to tape at the legendary Malaco Studios in Jackson, MS where he’s lived for the past 7 years.  The album is co-produced with Kent Bruce who engineered and mastered, and Murph Caicedo (who also plays drums on the album). “I think recording to tape and the analog recording process is an aspect of this album that makes it unique and special,” said Daniels. “Not just for the sound you get when the signal hits the tape, but also the commitment and command you must have of your performance, because with the limited available tracks there is not room for multiple takes.  You need to own your performance.”

Daniels has written a positive, uplifting and optimistic album, in response to the dark times we find ourselves in.  “I’m trying to bring people together around music,” he said.  “Trying to build a community.  During a recent radio interview with Radio Free Jackson, DJ Rex McAllister called the album, ‘music for our time ‘and said it was specifically written for this challenging time, living in the first few weeks of a global pandemic.” 

Daniels optimism shines through in his song titles as well, “I’m Not Going Down”, “Music is a Prayer”, “Breathe”, “Get Down With Now” and “Prayer to the World”. “’I’m Not Going Down is my personal anthem,” he confesses.  “Never give up and keep fighting!”

The song “It Can All Slip Away” came about after a sobering event.  Daniels was visiting California for a high-school reunion and brought his son with him to visit his grandparents. While he was attending the reunion, the infamous big fires broke out in Napa Valley. “My father’s house was in the canyon where the first fires originated,” he said. “They barely escaped with their lives.  That whole experience really rocked me and got me to thinking how fragile life is, and how we shouldn’t take it for granted.”

The hill-country vibe of “I’ve Been Ramblin’” is influenced by his adopted hometown. “When people ask me why I moved to Jackson, I tell them it’s because I wanted to breathe the air and drink the water. Since moving here I’ve really fallen in love with this place. After my own ramblin’, Jackson sure is a place I love to come home to.”

The album ends on Daniels’ “Prayer to the World”. “Things have to change and we need to come together to make the world a better place,” he emphasizes. “When I wrote the song I heard a big gospel choir singing along. The gang vocals for this song were the last tracks we cut for the record. We had a bunch of fellow musicians and friends come to the studio to join in.  The whole recording experience had been so fantastic and cutting these vocals with all of our friends and our collective sense of accomplishment really made for a magical session.”

Daniels attributes some of the alchemy to the relationship between Kent Bruce and Murph Caicedo. “Having recorded dozens of albums together, they know each other and the way they interact really contributed to the vibe in the studio.”

With Jason Daniels on guitar and vocals and Caicedo on drums, the rest of the band is comprised of Rob Wicks on bass and Chris Nash on keys.  Several other musicians were brought in for background vocals, B3, sax, harmonica and percussion. “I’m really proud of my first album. Everybody did an amazing job, but there was a transactional element to using hired players. I released my first album under just my name and this album is the Jason Daniels Band. I’ve been playing with Chris for four years now and Rob for a few years and it was magic from the first time we got together with Murph. This is an album made by a band who’ve logged hours on the road, playing shows and in rehearsals, learning how to play together.  Collectively we worked so hard to prepare ourselves for these sessions, and I believe it really shows. I can’t say and I try not to worry about what anyone will think of the album, whether they love it, hate it, or are indifferent. Artistically this is the most satisfying thing I have ever created, and I know the rest of the guys will agree.”

A Ripple Conversation With Old Blood

What have been your musical epiphany moments?

Trev - When I was 5 years old, my Dad and I were taking a drive in our old station wagon.  Satisfaction by the Rolling Stones came on the radio about the time that we pulled up to our destination.  I remember being so blown away by the riff, the melody and the lyrics that I asked my Dad to keep the car running so I could sit and listen to the rest of the song.  It entirely changed my perception of what cool music was.

Lloyd - Metallica – …And Justice for All , specifically the video for One , it wasn’t like anything I heard on the radio , and the video was in a world of its own, super dark and deadly serious compared to what it was played in rotation with.

Josh - hearing music that wasn't country - Nirvana, Bad Religion, Metallica

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?
Trev - most of the tunes we have written together typically start with one of us (Usually Lloyd) sending out a 10 minute demo of a million riffs, chord progressions etc. that could possibly fit into one song.  I’ll listen to these demo’s  over and over until a vocal melody pops into my head.  We collectively decide what feels like a verse, what feels like the chorus, and where the bridge/interludes should end up.  After much collaboration and re- arrangement a song will slowly emerge.  We always make sure we play a song live, to an audience before attempting to properly record it.

Who has influenced you the most?

Lloyd - equal parts John Carpenter and John Cusack

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

Lloyd - Currently lots of film scores and lots of 70s 80s rock and pop

Trev - Probably just picking up a guitar that I haven’t played in a while, they all have different pockets and sweet spots that force me to play differently.

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

Lloyd - Halifax, N.S. – I once heard it described as “ A self Important city in the middle of nowhere”

Trev - Being so close to the ocean has certainly shaped some of the lyrical choices.  It’s hard not to be inspired by it.

Where'd the band name come from?

Trev - I think we had our first record almost done before we could decide on a band name.  We had a show or a tour lined up so we of course had to decide on one very soon.  Josh and I were having a beer one day at a local bar.  Our buddy Heather’s band van pulled up and we could see it outside the window. It was an old Dodge Ram van that used to be red, but 20 years of weather and wear changed the colour to what would look like a blood stained murder scene.  I commented that the van was the colour of old blood.  We both laughed. That was it.

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

Lloyd - Days of Thunder .

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?

Lloyd - Do The Bartman – The Simpsons – my reasoning would take at least 1000 words.

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

Lloyd - On the first night of a week long tour across a couple of provinces with some other bands, upon loading into the venue and getting ready for soundcheck, Josh realizes he has no Bass to perform with, in the chaos of load out with the other bands, his bass was left in the rehearsal studio back in Halifax and we were now two provinces away.
Trevor - Definitely Josh forgetting his bass on tour but also I ruptured my achilles tendon a few years back and couldn’t walk for like 6 months.  I had to play a bunch of rock shows sitting down.  My band mates had to set up all my gear for me and rock out extra hard. They were sweet, they never complained. I am grateful.

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

Lloyd - The 30 to 60 mins that you usually get to play live on any given day, is always the best part of that day or any other.

Josh  - my favourite thing about music is playing live. sucks we can't do it right now.

Trev - Playing a great live set with your friends, what could be better?

What makes a great song?

Lloyd - Sometimes it’s a lyric, sometimes it’s a riff or a solo, a lot of times your own mood dictates what songs are great.

Trev - I don’t think you can have a great song, without a great melody.

Tell us about the first song you ever wrote?

Trev - I was like 17. Drop D, 2-3 Chords Recorded on a tape cassette.  I listened to it on repeat in my van. It was not great.  A year or so later we recorded it in a proper studio and it actually got some radio play.  The song came on the radio at a friends house during a poker game. I was hooked.

What piece of your music are particularly proud of?

Lloyd - This newest record, lots of set backs, but we finished it. 

Trev - Arrows, from our first record Ruins.  It was the second song I think we wrote together. 10 years later it’s still my favourite song to play live.

Josh - The Ides III & IV, Bath Salts, Dead of the Night

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

Josh - Deftones, Brutus, Pup

Lloyd - Nick Cave, Gunship, QOTSA  - all very different but all peak my interest anytime I hear something new by any of them.

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


Whiskey or beer?  And defend your choice

Josh and Brad say Beer - less expensive and more variety

Lloyd Says Rye – Whiskey,  but for Canadians.

Trev  - I don’t want to live in a world where I have to choose.

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?

Halifax, N.S. – Obsolete Records – independent local owned and operated.

What's next for the band?

“Reckless Calm” album release is May 15th 2020, and we have another EP in the can that was thankfully recorded before the shut down.

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

Stay Frosty!

Wednesday, May 27, 2020

The Xroadie Files

The Watchers – High And Alive EP

Tim Narducci -Vocals, Jeremy Epp -Guitars, Cornbread – Bass, Carter Kennedy -

Black Abyss crunchy chugging guitars thundering bass pounding drums and vocals that just grab your soul with searing leads. Just A Needle so slow heavy pulls you in as your imagination runs wild. Sabbath Highway a catchy crunchy guitar riff steady rhythms on your feet rock out and sing along as the music envelops your very being with some scorching leads. Starfire on your feet fist in the air head bang and move to the heavy groove.

Vinnum Sabbathi – Of Dimensions And Theories
Alberto -Guitar, Samuel -Bass, Mico Gerardo -Drums), Roman -Live Samples & Synth

In Search Of M-Theory crunchy riffs spoken words and strange sounds space rock style. Quantum Determinism close your eyes and be pulled into your deepest imagination. An Appraisal drifting thru space time and dimensions. Beyond Perturbative States drifting in the darkness of space all alone. A Superstring Revolution I pounding drums thundering bass crunchy guitars and eerie dark tones. A Superstring Revolution II continues the musical mind trip in your consciousness.

Black Pestilence- Hail The Flesh
Valax – Bass/Vocals/Samples, Daniel Toews – Guitar, Davey Hellfire – Drums

Hail The Flesh fast heavy hit the pit punch you in the throat speed death metal madness. Spurn All Gods hard heavy death metal mayhem. Hellfire low rumbling bass thundering drums crunchy guitars and growling vocals. True To The Dark fast hard heavy thrashing demonic music. Cloven Division the pits of hell open and demons spew forth devouring all. Godless thrashing shredding ripping tearing metal music. Frauds To The Throne chugging guitars thundering bass pounding drums and deep vocals. My Will To Power crunchy riffs pounding rhythms screaming guitars and chant along vocals. Emphemeral pulls you into the dark depths of your dreams.

Omniarch – St
Henry Geisbrecht, Jon Hofmann, Mackenzie LaHaye, Mason Wilson, Morgan Lambert

Caligula fast heavy riffs screaming vocals and thundering rhythms that just envelop your senses. A Voracious Awakening shredding guitars fast rhythms and vocals that just pull you in with dark emotions. Humanaut scorching guitars shredding vocals and riffs that just rip and tear at your being. Ohm Cairn hit the pit slam sweat and just get your aggression out. Wrath Of Erymanthos fast hard heavy death metal mayhem. Pathfinder shredding ripping tearing thrashing music. Ursa Major fist pumping head banging pit slamming metal madness.

Slap Guru – Umashi’s Odyssey
Valerio "Willy" Goattin- Vocal/ Guitar, Alberto Martin Valmorisco-Guitar, Jose Medina Portero- Drums, Javi Labeaga Burgos-Bass

Meeting The Mermaids soft melodies that you just drift along to. Acid One catchy riffs searing leads and an infectious groove with great vocals. Dark Militia heavy riffs pounding rhythms fast hard and memorable with soulful vocals. Sidereus Fatum close your eyes and float away. A Night With Its Spells slow bluesy music that envelops your very being. Erkil on your feet groove and sing. Who Can Say Its Night slow blues with some piercing leads that just draw you into your dreams. My Shadow Kills stand sway and sing. The Blind Polifemo on your feet groove sing clap and just enjoy. The Plastic Island a very interesting tune that will take you in different directions.


Tuesday, May 26, 2020

Steven Bradley - Summer Bliss and Autumn Tears

Steven Bradley - Summer Bliss and Autumn Tears

So, I have this little game I play. When I'm working at my desk, I have a huge stack of unlistened to LP's on the floor near my feet, in no particular order.  I've mastered the art of reaching down into the stack, grabbing a record, removing it from the sleeve and placing the needle, all without ever seeing the album cover or the labels.  This allows me to get the music going sight unseen.  No preconceived notions.  No expectations.  Just let the music do the talking.

And man, does Steven Bradley do some fine talking.  To be fair, this was actually my third (or fourth) listen of the album.  Each time I was entranced by it, but not like this time.  As the first strains of Love Tumbles Into Obsession came out, the crystal clear power-pop a la Elvis Costello filled that perfect place.   One listen and you'll be shocked to learn that Nick Lowe didn't produce this.  There are no players from Rockpile.  This is simply note perfect, bouncy, joyous power pop.

Summer Bliss indeed.

Now, turns out Steven Bradley is no stranger to making fine music, even if this is his debut solo LP.  Bradley has been the producer of Less Than Jake and Blink 182, so the gent knows how to craft a song.  Bradley is also no masquerading musician.  While he has guest help from members of MC5, Social Distortion, Redd Kross, MXPX and Grapes of Wrath, Bradley essentially plays every instrument on the record, contributing vocals, acoustic, electric, high string and 12 string guitars, mandolin, keyboards, bass, drums and percussion.  So while the hype sticker will list all the guest performances, don't pick this up expecting to hear anything like MC5, even though Wayne Krammer guests.  No, pick this up because you are a fan of solid, catchy, sunshine captured in a 4 minute pop song.  That's what Bradley does.

And each song is a solid encapsulation of that buoyant pop.  While each song brings it's own vibe, the solid bounce of Love Tumbles Into Obsession and Pre-Emptive Strike are particularly perfect.  Timeless in their execution, sublime in their production.   These songs are so full of melodic hooks, that you can't help but get them stuck smack in your mid-brain.  That place where good feelings reside, and memories lie.

Bradley's voice doesn't seek to stretch beyond it's comfort zone, which is fine.  He has more than a taste of the sneer of the Angry Young Man movement of British New Pop a la Graham Parker.  He brings nuance and comfort with his straight forward delivery.  And most importantly, he carries those perfect melodies

In the end, Summer Bliss and Autumn Tears is the perfect title for this album, as lurking beneath the sunshine pop that can carry the best summer albums, there's a fractured wound of heartbreak to bring the autumn tears. 

Check this one out, it may be your party by the pool album of the summer.  You can get it at Porterhouse Records.


Monday, May 25, 2020

Stoner metal warlords WOLFTOOTH premiere new album 'Valhalla' in full exclusively on Invisible Oranges; out NOW on Ripple Music.

Midwest-based riff firestorm WOLFTOOTH unveil their awaited and already anthemic new album 'Valhalla' in full courtesy of Invisible Oranges today, after its official release on Ripple Music.

“A profoundly satisfying and subtly imaginative record.” Blabbermouth
“The memorable songwriting makes their sweet spot even sweeter.” Indy Metal Vault
“If you’re up for 50 minutes of top quality old-school metal you should start here.” The Sleeping Shaman

With a huge, looming sound reminiscent of classic, genre-defining bands of the 70s, there is no mistaking about WOLFTOOTH intentions: they intend to hit hard with this leather-smelling, riff-slaying 10-track that won't disappoint fans of chunky riffs and stadium-friendly anthems in the purest heavy metal tradition, with an undeniably modern production and epic storytelling à la The Sword or Grand Magus.

Hear the thunder roar with new album 'Valhalla'

With their sophomore album Valhalla, WOLFTOOTH have truly upped the ante, adding more layers and variations in the songwriting and overall musical execution. The production has improved substantially and each track captures the feel and vibe from the recording session. ‘Valhalla’ is everything you would come to expect from a follow-up album to their popular self-titled debut – and then some!

It will be released by Ripple Music (CD and digital), Cursed Tongue Records (vinyl) and from Ice Fall Records (cassette) on May 22nd.

New album 'Valhalla'
Out May 22nd on Ripple Music (CD and digital)
Available on Big Cartel & Bandcamp
Hailing from the Midwest via Richmond IN comes the "Stoner Metal Riff Worshipers" WOLFTOOTH consisting of a pack of well seasoned musicians (all 20+ year metal scene veterans) determined to raise the bar of the almighty riff. Wolftooth combines influences from the 70's and early 80's NWOBHM with Bay Area Thrash and doom laden riffery. Meanwhile the vocals soar over blues drenched solos that add a stoner sensibility to the Wolftooth sound. Their self titled debut album released by Cursed Tongue Records and Ripple Music in 2018, took the underground scene by storm. The album charted for three consecutive months on the highly respected Doom Charts, ending the year at #7 for best albums of 2018. Metal Hammer magazine heralded the band as “the best pure-blooded heavy metal band in the world right now.” (Rich Hobson- Metal Hammer, August 2018)

WOLFTOOTH are planning on making it’s mark and shaking up the heavy metal underground once again with their upcoming sophomore album ‘Valhalla’ scheduled to be released by Cursed Tongue Records (vinyl), Ripple Music (CD and digital) and from Ice Fall Records (cassette) on May 22nd 2020. 'Valhalla' is a triumphant return for heavy metal unit WOLFTOOTH, expanding on their tried and tested formula while proudly drawing from NWOBHM, Bay Area thrash and old school doom. As if their highly melodic, chugging double-guitar weren't enough, this amped up ten-tracker also conveys an irresistible sense of blues... One motto: headbanging.

Chris Sullivan - guitar, vocals
Terry McDaniel - bass
Jeff Cole - guitar
Johnny Harrod - drums, vocals


Sunday, May 24, 2020

Bandcamp Bonanza – 116

This weeks Bonanza does not let up the heat. Even if the weather isn’t quite where we want it, the cool nights and warm afternoons feel very nice in this quarantined world of ours. What makes it better is new tunes to take our minds off the madness. A mask won’t help here folks, crank it up.

I missed out on this one when it dropped last year. Its somewhat of a supergroup with members who’ve played in the bands Cave In, Doomriders, Zozobra, and Goatsnake. With a pedigree like that how could you not check them out. It was an automatic buy for me, and they so happened to have it on cassette tape for a fair price. It’s a super fun garage/punk rock album with a sharp, noisy edge. I can hear the Doomriders influence creeping in the tone and it’s warped with The Stooges meet Pennywise vibe. This debut is fantastic!

Perhaps the meanest and slickest opening riff all year and it doesn’t let up. The Lowdown groove cuts deep, polished with infectious hooks, crisp chops and vintage harmony.

One of the albums that started it all for me and I’m over the moon it’s finally available on vinyl. Stone cold classic, chocked full of catchy groove, infectious vocal melody and tone for days. No doubt a top influential album on my music taste in the 21st century. Favorite track: He Who Kills.

Great 3-song introduction to this heavy rock band from Germany. Particularly enjoy the dirty vocal tone with backup, plus a myriad of proggy twists and turns loaded with choppy bass and molten solos.

Been a big fan of these guys for a while. They’ve always had a knack for being successful in the alternative country arena grabbing fans of both the outlaw side and the pop side. This new album I feel takes it to the next level in terms of songwriting, heartfelt relevance, and anthemic hook. The production is magnificent and BJs vocals have never sounded so crisp and gritty. Give this a chance it hits you right away and grows on you as my next recommendation will too.

I have had tickets for his show in July for months now and was holding off to buy the vinyl in person, however that might not be a reality anymore. Jason is a force to be reckoned with and perhaps the greatest active songwriter on the touring circuit right now. I have been a fan since his days with the Drive-By Truckers and its good to see his work up on bandcamp now. Reunions is a total rocker and full of the patented Isbell charm and superb guitar skills.

Mind = Blown
Members of the hard rock band Mammoth Mammoth bring us a Slow burning progression of intricate fuzz and spine-tingling psych.

I predict this to be one of the most talked about debut records to come out this year. Out of nowhere this Los Angeles band, yes, LA not Sweden, storms the heavy underground scene with a Pink Floyd meets REM/Steven Wilson tone. The songs are constructed with a delicate hand and flow with an EPIC stature of both rhythmic fury and occult ecstasy.

Ethereal Sea know how to create a groove. The songs sear with a progressive edge while the head-bangingtempo rocks with ethereal waves of funk embedded with vintage croon. It’s a grower and a shower.

Another explosive EP by a band featuring an all star cast of rockers. I mean Juan Montoya (ex-Torche) and Evan Diprima (ex-Royal Thunder) concoct this stunning EP including guest slots by Troy Sanders (Mastodon), Bryan Richie (The Sword) and Paul Masvidal (Cynic). This is a wild ride of riffs, textured with atmosphere and soaring with melody, sure to have you panting for more. The artwork isn’t bad either. I actually found the first band on today’s list Nomad Stones, via the

-The Huntsman
Related Posts Plugin for WordPress, Blogger...