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Showing posts from December, 2021

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Joe D. Carpenter - Dark Fusion

December 31, 2021

ad orientum frater meus allan holdsworth dark fusion heavy metal joe d. carpenter junk science killing joke King Crimson progressive rock the grand level the sand that makes the pearl the tower

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Have You Checked Out Our Alt Rock Subsidiary, Rebel Waves?

December 29, 2021

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The Xroadie Files

December 28, 2021

beyond the veil II nightland notre-dame-de-l'enfer sammy berell scarecrow the great nothing the three tremors the xroadie files

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A Ripple Conversation With Kill, The Icon

December 27, 2021

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Houston fuzzy doom trio FOSTERMOTHER share crushing "Sunday" video; new album 'The Ocean' coming February 18th on Ripple Music.

December 26, 2021

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Magic The Gathering Inspired Power Metal PLANESWALKER (ft. members of Helion Prime, Gloryhammer) Unveil New Single "The Spark"

December 25, 2021

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A Ripple Conversation With John Parry

December 24, 2021

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Get $7 LP's and $2 CD's And More With Our Year End Blowout Sale!

December 23, 2021

$12 double lps $2 cds $7 vinyl bigcartel CD holiday sale limited editions merch ripple Music test presses vinyl

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A Fistful Of Questions With Joseph Izayea

December 22, 2021

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The Xroadie Files

December 21, 2021

a gash with sharp teeth and other tales a tribute to pink floyd animals reimagined blood of the old gods erdling helheim loose sutures restless spirit the xroadie files turkey vulture twist the knife

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A Sunday Conversation With Nate Davis

December 20, 2021

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Symphony of Heaven’s sophomore album, Maniacal Entropik Discordium, out NOW!

December 18, 2021

asaph maniacal entropik discordium melodic blackened death metal new album pathos rottweiler records symphony of heaven the ascension of extinction the season of death

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Noiseworks - Noiseworks

Back in the late eighties an Australian friend of mine, whom I've sadly lost touch with since, sent me a cassette of a Sydney-based band. It was their self-titled debut and the band in question was Noiseworks. At this point in time, this five-piece were completely unknown to me and based off of the artwork, a photo of the band against a white backdrop with the logo above, I had no clue what to expect. However, once the music started I was sold - hook, line and sinker! Australian rock and pop of the eighties had a particular sound. Can't honestly describe it in words but to this day that sound is very identifiable in a good way. And Noiseworks are not exempt of this. They deftly embrace their heritage while going full tilt with awesome hooks, great lyrics and a lot of emotion. What baffles me is that the guys were labeled a pub rock band. Maybe that was the case in their infant years but ‘Noiseworks’ is anything but. Then again, we all look at things differently.

Jane's Addiction - Nothing's Shocking

Growing up as a teenager in the 1980’s I’d say my progression through rock and roll was fairly standard. Status Quo were my gateway band that drew me into a world of distorted guitars and hard assed rhythms. From there it had to be harder and heavier…Quo gave way to Maiden who gave way to Venom, who gave way to Mercyful Fate then to Metallica, Slayer, Bay Area thrash, death metal…etc. I also embraced the pantheon of forebears…Sabbath always did rule the roost for me from one summer’s day in ’83 when I heard “Live Evil” and still do to this day as do the classics like Lizzy, Purple, Skynyrd, Led Zep, ZZ Top, AC/DC, Motorhead, Kiss. I was a typical heavy metal teenager. Metal was always what it was…hard, heavy, escapist…etc but towards the end of the decade there was a shift; the Red Hot Chilli Peppers introduced metallers to funk, The Beastie Boys and Run DMC with Aerosmith introduced metallers to rap, Faith No More introduced metallers to funk and rap and then there was Jane’s Addict

Burn on the Bayou: a Heavy Underground Tribute to Creedence Clearwater Revival

Tribute Albums can be a minefield, depending on whom the chosen artist is that is being given the (sometimes dubious) honour of having their songs covered. Black Sabbath have countless tributes and have had every possible band from the Giants (Metallica) to the bizarre (Busta Rhymes) cover them with extremely mixed results. For every White Zombie and 1000 Homo D.J.s sublime covers of Children of the Grave and Supernaught theflip side is the absolute travesty of Emerald Sabbath (I kid you not) consisting of anyone with the most tenuous connection to Sabbath (Dave Walker, Neil Murray, Bev Bevan) murdering their songs. The first hurdle of any tribute album is avoiding the obvious (Sabbath, Lizzy, Purple etc) picking an artist well known but not covered to point of saturation. So, Credit to Ripple Music A whip smart choice of a tribute and overall executed with style. With Burn on the Bayou the first hurdle has been easily jumped. Creedence Clearwater Revivals music is part of the

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