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The Ripple Effect

The best music you're not listening to.™ Reviews of lost classics and obscure titles. Unheralded bands and songwriters. New bands deserving of greater attention. The site for the music omnivore. It's all here, on the Ripple Effect

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Showing posts with the label Self Titled

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Greenleaf – Selftitled EP

October 19, 2025

blues rock Dozer echoes from a mass ep Greenleaf heavy rock revolution rock deluxe Self Titled stoner rock Trails And Passes

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The Xroadie Files

aeveris cendre cerbere Let Go matt dorsey Self Titled small town saviours the bath forum concert the xroadie files van der graaf generator white elephant

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The Xroadie Files

almost honest black anvil hedguzy mephorash miles seiches and sirens Self Titled shem ha mephorash the xroadie files these beasts waves

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The Xroadie Files

February 13, 2019

angel morgue bamboo star blood oaths in my head keith reid project no hard feelings pavlov's dog prodigal dreamer ritualizer Self Titled the xroadie files

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The Xroadie Files

January 30, 2019

chapter ii damned if you do diamorte firewolfe metal church misty grey revolution highway Self Titled the red opera the xroadie files we rule the night

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The Xroadie Files

February 21, 2018

driven by impact exalter Fuzz Evil greytomb marginal monumental microcosm persecution automated Self Titled switchblade jesus the second coming of heavy the xroadie files total destruction

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Striker - Striker

born to lose curse of the dead desire former glory freedom's call glam metal NWOBHM pass me by Self Titled shadows in the light striker thrash metal

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KOOK - KOOK

bandcamp crawl demonize doom metal elvis doom kook not killing me play dead Self Titled ta-da/eye of gold why

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Contrastic - Contrastic LP

February 17, 2017

chopins ulcerous colic contrastic grindcore HORROR PAIN GORE DEATH PRODUCTIONS Self Titled sex with four walls unattractive 'm' verschrottung durch arbeit war laws?

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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 par...

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. ...

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-(16)-
; NASHVILLE
:Twingiant
. Book
. new album
...and the fire within
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...it's ugly or nothing
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