CORRECTIONS HOUSE: Members Of Eyehategod, Neurosis, Nachtmystium, Yakuza Unite; Winter Tour Dates Confirmed

CORRECTIONS HOUSE, the new collective featuring Mike IX Williams (Eyehategod), Scott Kelly (Neurosis), Sanford Parker (Nachtmystium) and Bruce Lamont (Yakuza), today confirm a string a rare live shows. The 19-date trek will commence on January 21, 2013 in Brooklyn, New York and wind its way through much of the of the East Coast before concluding in Denver, Colorado. Special solo sets by Parker, Lamont, Kelly and Williams will be performed prior to closing each night as CORRECTIONS HOUSE. Further info on CORRECTIONS HOUSE to be announced in the coming days.


CORRECTIONS HOUSE Winter Tour 2013

1/21/2013 Saint Vitus Bar - Brooklyn, NY

1/22/2013 Great Scott - Boston, MA

1/23/2013 BAR - New Haven, CT

1/24/2013 Metro Gallery - Baltimore, MD

1/25/2013 DC9 - Washington, DC

1/26/2013 Strange Matter - Richmond, VA

1/27/2013  Kings Barcade – Raleigh, NC

1/28/2013 The Atlantic - Gainesville, FL

1/30/2013 Churchill’s - Miami, FL

1/31/2013 Crowbar - Tampa, FL

2/02/2013 Bottletree - Birmingham, AL

2/06/2013 Siberia - New Orleans, LA

2/07/2013 Rudyyards - Houston, TX

2/08/2013 Korova - San Antonio, TX

2/09/2013 Red 7 - Austin, TX

2/10/2013 Bryan Street Tavern - Dallas, TX

2/11/2013 Opolis – Norman, OK

2/13/2013 Slowdown - Omaha, NE

2/15/2013 Moon Room - Denver, CO

Ripple Top Albums of 2012

 Racer's Top 10 of 2012 (in no particular order

The Cult - Choice of Weapon
Black Bombaim - Titans
Doctor Cyclops - Borgofondo
Orange Goblin – A Eulogy For The Damned
Baroness -  Yellow and Green
Orcus Chylde - S/T
Blood Of The Sun - Burning On The Wings Of Desire
Arkona - Slovo
Heidelvolk - Batavi
Lonely Kamel - Dust Devil


Pope's Top 10 of 2012

1.     Alcest - Les Voyages de l'Âme
Post-black metal with a poppy sensibility and charm, it’s almost toe tapping in its accessibility while remaining rooted in all that is dark and gloomy. More reminiscent to the first Les Discrets album than the follow up.

2.     Diablo Swing Orchestra - Pandora's Piñata
A hodge-podge of musical styles on full display, filled with grooving dance numbers, ultra-heavy operatic metal, and propelled into the cerebral cortex by the most violent drumming of 2012.

3.     Hypno5e – Acid Mist Tomorrow
The long-awaited follow up to the epic debut album, Des Deux L’une Est L’Autre,this French art-metal quartet brought the goods, combining the heaviest off-time metal heard since Gojira, yet extremely accessible and packed with memorable melodies.

4.     Katatonia – Dead End Kings
They could release a platter of shit and it would probably still sound good. Thankfully, Dead End Kings is a return to the form that intrigued me enough to investigate this band back on Viva Emptiness. Gothically dark, haunting and moodier than a gynecologists waiting room, and perfect in every way.

5.     Les Discrets – Ariettes Oubilees

6.     Moonspell – Apha Noir/Omega White
Dark and dastardly, these Portuguese metal mainstays return to the fray with a haunting and demonically heavy epic double LP set.

7.     Mos Generator – Nomads
A triumphant return to the fold, this Port Orchard trio delivered the goods when everyone seemed to forget they ever existed. Soul searching song craft is on full display in this 40 minute gem!

8.     Om - Advaitic Songs
Mesmerizing. Like walking through the Sahara desert with Farflung as your tour guide. Ripe with Middle Eastern tones and themes, yet heavy and accessible at the same time. A complex listen, but one of the most satisfying.

9.     Secrets of the Moon – Seven Bells
Never has evil sounded more brutally beautiful. The bands most focused release to date, clear and concise, the let us know the end is near.

10.  Wo Fat – The Black Code
Dallas, Texas trio has redefined the meaning of HEAVY with this five song marathon of blues-based doom-tinged rawk.

11.  Year of the Goat – Angels’ Necropolis
I fell in love with their 4 song EP from a couple of years ago and to have this drop at the end of 2012 tells me that someone, indeed, loves me. High quality musicianship and song craft, lyrically dark, dripping with images of séances and the Dark One, yet musically accessible enough to bop your head to.


Honorable mention:

Doctor Cyclops - Borgofondo
Dordeduh – Dar De Duh
Blood of the Sun – Burning on the Wings of Desire
Syven - Aikaintait
Xandria – Neverworld’s End
Corrosion of Conformity – S/T



 Woody's Top 10 of 2012. (Very glad this year is over, been a rough one.)

Chips & Beer #3 (magazine)
Corrosion of Conformity - Corrosion of Conformity
Cortez - Cortez
Federale - Not Your Vessel
Groan - The Divine Right of Kings
Mos Generator - Nomads
Dee Snider - Shut Up and Give Me the Mic (book)
Superchrist - Holy Shit
Ufomammut - ORO: Opus Alter
Voi Vod - To The Death



 Horn's Top 10 of 2012


10    Ufomammut, Oro: Opus Alter
9      Nachtmystium, Silencing Machine
8      Serpentine Path, Serpentine Path
7      The Sword, Apocryphon
6      Saint Vitus, Lillie:  F-65
5      Sylosis, Monolith
4      Windhand, Windhand
3      Pig Destroyer, Book Burner
2      Witchcraft, Legend
1      Cattle Decapitation, Monolith of Inhumanity


Ollie's Top 10 of 2012

Wow, Top 10…no easy task by any means…especially as I got it down to around 14 or 15 and should all be in my top 10. I couldn’t really out them in a particular order so the running is purely arbitrary. If I overthink this it could all change so I went with gut instinct!!!


1)       Mos Generator – Nomads
2)       Lord Fowl – Moon Queen
3)       Orange Goblin – A Eulogy For The Damned
4)       Doctor Cyclops – Borgofondo
5)       Admiral Sir Cloudesley Shovell – Don’t Fear It…Hear It
6)       C.O.C – C.O.C
7)       Imperial State Electric – Pop War
8)       Stone Axe – Captured Live! Roadburn Festival
9)       Alunah – White Hoarhound
10)    Turbonegro – Sexual Harassment


I have to give honourable mentions also to:


Mother Corona – Out Of The Dust
Black Magician – Nature Is The Devil’s Church
Mighty High – Legalise Tre Bags
Sun Gods In Exile – Thanks For The Silver

I could add a load more but it’d get silly!!!



Penfold's Top 10 of 2012

Top 10 of 2012 (in Alphabetical Order):

Alestorm – Back Through Time
Blackfoot Gypsies – On The Loose
District 97 – Trouble With Machines
Ebert, Matt - Hard Work
Gift of Gab – The Next Logical Progression
Random – Language Arts Vol. 1, 2, and 3
Royal Headache – Royal Headache
Sigh – In Somniphobia
Wilson, Jim – Jim Wilson
Wino & Conny Ochs – Heavy Kingdom


Honorable Mentions:

Atherton – No Threat
Brother Ali – Mourning In America And Dreaming In Color
Coup, The – Sorry To Bother You
Fiasco, Lupe – Food And Liquor II: The Great American Rap Album Pt. 1
Immortal Technique – The Martyr
Leiana – Lucky #3
Orange Goblin – A Eulogy For The Damned


Swedebeast's Top 10 of 2012

1. Pale Divine - Painted Windows Black
2. Magnum - On The 13th Day
3. Marillion - Sounds That Can't Be Made
4. Chowder - Passion Rift
5. King Giant - Dismal Hollow
6. Kontinuum - Earth, Blood, Magic
7. Blood Of The Sun - Burning On The Wings Of Desire
8. Killing Joke - MMXII
9. Monolithe - Monolithe III
10. Alunah - White Hoarhound



The Professor’s Top 10 of 2012

1.     Thrice- Anthology
One of the greatest bands of all time (and I’m not exaggerating) puts out their final and most epic piece of work they’ve done.  Anthology is a live album recorded along the final tour of their amazing careers.  It’s a fitting conclusion. 

2.    We’re Doomed- How to Destroy Something Beautiful
When I was given this band to review for The Ripple, I was stunned by the quality of the work here.  Moody, oppressive, gorgeous, sad, and professional, this crew has jumped up into “favorite band” category.   Just waiting on a full length release!

3.    Between the Buried and Me- The Parallax II: Future Sequence
What can you say about Between the Buried and Me that does them justice?  They are some of the greatest musicians in metal.  Hell, in any category.  They create beautiful arrangements that erupt into violent explosion. The Parallax II is far superior to its predecessor, and may be BtBaM’s finest album to date.  That’s saying a great deal.

4.    Deftones- Koi No Yokan
I’ll admit that I was ready to write off the Deftones new album when I heard the single Tempest.  I hate that song.  Still do.  However, the rest of the album is grade A Deftones.  It’s one of the most enjoyable albums of their career.  It’s nice and heavy with just a splash of moody electronica.  It’s great, and I highly recommend it. 

5.    Set it Off- Cinematics
I was stunned when I heard this excellent pop-punk-orchestra affair.  It’s straight up beautiful, with incredible lyrics that are easy to relate to.  It’s catchy as hell and well thought out.  There is a ton of energy involved with this band.  When my band, Cover of Afternoon opened for them, we learned that their live show was as intense and energetic as their album.  Easily the best live band I’ve seen this year.

6.    Wretched- Son of Perdition
If it wasn’t for Between the Buried and Me, this album would win my “Guitar Work of the Year” award..  if it mattered.  Or existed.  These boys can shred.  John Vail is a legendary guitarist, and he’s flanked by the equally talented Steven Funderburk.  Sick stuff. 

7.     Lower than Atlantis- Changing Tunes
It was hard for me to listen to Lower than Atlantis’s new album, because the previous outing World Record is listed as one of my all-time favorite spins.  This album didn’t disappoint.  While not as stellar as WR, It’s a compelling follow-up that has the gorgeous melodies surrounded by the punk guitar.  It’s a great album.

8.    Trioscapes- Separate Realities
Sexy sax jazz metal.  Need I say more?

9.    By the Bull-  Ghosts and Prophecies
An unheralded little band out of Columbia South Carolina, Nick Brewer and co. bring a certain style to their brand of rock.  Part Fall of Troy, part nothing I’ve ever heard, and all freaking fantastic.  The first four tracks of the album stand are amazing.  Especially the acoustic and piano driven The Push. It’s possibly my favorite song of the year.  Check these guys out. 

10.    Jowls- Cursed
I freaking love the aggressive explosion that is Jowls.  This album bleeds anger and is as brutal as any shred metal without being overbearing.  It’s all emotion. I absolutely loved it. 



Mr. Brownstone's Top 10 of 2012

Beach House- “Bloom”
Cat Power- “Sun”
Gotye- “Making Mirrors”
Grimes- “Visions”
Jack White- “Blunderbuss”
Kimbra- “Vows”
Lana Del Rey- “Born To Die”
Passion Pit- “Gossamer”
Sleigh Bells- “Reign of Terror”
The xx- “Coexist”


Old SchoolLists, Lists, Lists!
Racer is at it again.  He wants a Best Music of 2012 List.   A list of bests.  I'm supposed to judge what I've heard in the past year and tell you - in fact, more than tell you - persuade you that I know what's best.  Or, maybe it is so you can judge me and my musical tastes?

Racer, don't you see the whole list thing is what's wrong with the music world?  We all want to take the upper hand in the argument, be seen as the most, come out on top, and be able to look down on the competition.  But, when for the love of music did music appreciation become a contest?

I think it must be ingrained in us to contrast and compare all things and create a little hierarchy of like-kind items and then, to try to impose it on others as "truth". Sure, one apple may taste sweeter than another and be better in your apple hierarchy, but where do you place it in the context of all the fruit you ate this year?  The desire to elevate that which we prefer by subjecting others to our opinions is just misapplied Maslow to music with consequences as serious as misapplied Darwinism to social economics.  What you get when you impose your preferences on others is not what is best.  It may be the most publicized or top grossing, but it is not the "best."  What you get is stuff like "Gangham Style" and Justin Bieber, and I really don't want to go there.

Music is an experience that takes you on a journey. It is not a mineral, fruit or vegetable.  It breathes and moves, has structure and has rules that were made to be broken.  Whether it is The Ben Rice Band on Pour Me Some Whiskey taking you through a scathing slide guitar blues; Heavy Manic Souls' electrified power bluesrock on their self-titled album; Amy Hart's powerful blues-based vocals on Congratulations or Jon Herington showing his funky side on Time On My Hands - all 2012 releases - what do I add if I say they are some of the best blues rock releases of 2012?  Nothing, I add nothing, and it means nothing  unless you also listen and agree. Yet, even that does not mean any of it is "best".

How could it be? Is it even possible to compare releases by The Ben Rice Band, Heavy Manic Souls, Amy Hart and Jon Herington with alternative pop rock such as All The Right Moves'  release The Monster I've Become; Monte Pittman's step from behind Madonna's pointy bra on his album Pain, Love & Destiny'; or Bethpage Black's eclectic rocker Black Magic?  Contrast and compare.   Rule one effort best or better than another? Hardly.

You may hate pop, detest the blues, are non-plussed by alternative rock and only crave the harder stuff like Ripple Music's own Stone Axe's Stone Axe II; Mos Generator's Nomads; or Trucker Diablo's The Devil Rhythm.  So how is it possible with such disparate styles and sounds (and I haven't even mentioned classical, latin, reggae,  metal, country, symphonic, rap, hip hop, jazz, progressive, experimental, stoner, psychedelic, acoustic, emo, gypsy, or any one of a million other human categorizations of the sounds humans make that we call music) anyone can judge one better than another or ever come up with a list of the ten best efforts they heard this year?  It is an impossible, unnecessary and useless task.

The way I look at it we should not compare and contrast to determine which is better or best.  It is all music and, in my humble opinion, in it we should find harmony.  It is not to be placed in a pecking order. So, Racer, you go ahead and rank your aural journey. You won't get a 2012 top ten list from me.

Vanderbuyst - Flying Dutchmen

So, you've heard of Steel Panther by now, right? They're good, they're real good; but they're gimicky. Vanderbuyst is the real deal. These guys can crank out some serious tunes. First thing that caught my eye about the album was the cover. It's just the three band members against a white background with the band's name in rainbow covered angular font, true 80s class.

I gave it a listen, I gave it another listen, hell, I didn't stop. When I say this album is 80s to the core, I don't mean your stereotypical high pitched vocals loads of silky guitar, synthy drums and douchey (phonetically and characteristically) snare. Oh no, this is the down and dirty 80s. The kind of 80s rock you listen to when you're John Rider from "The Hitcher."

This band really has its own sound. Sometimes you'll hear some Megadeth, some power pop influences, but really, they do their own thing. The songs all pop, they stick in your head. The album's title track (kind of) "The Flying Dutchman" is a catchy catchy catcher of a catchy song. "Give Me One More Shot," is a power ballad, but it feels great to listen to and headbang with. The album's lead, "Frivolous Franny," almost has a Van Halen feel to it, almost. It's grindy and dirty and sleazy as hell. It's all just fun to listen to. Put your sunglasses on, roll your windows down, light one up and ride.

I've got it on shuffle a lot, and when it comes on I can always tell who it is, instantly. They have a sound, it's cohesive, and bitchin.

This band is the real deal, check them out. Oh look, this CD releases the day I'm writing this.

--Headshot


https://www.facebook.com/pages/Vanderbuyst/100980883276480

A Ripple Roadtrip - The Way Back - Featuring Joey Ramone, the Bombay Royale, Corsair, White Light Cemetery, Jazzanova, and The Orb featurng Lee Scratch Perry

Not quite 30 hours after arrival - time spent taking Ripple inventory, eating burritos, doughnuts, and watching way too much bad sci-fi with my recuperating Ripple partner, the Pope -- and I found my self back on the road.  Early Sunday morning, up before the sun, desperately aiming to get through the quagmire of LA before . . .whatever.  LA just sucks.  Let me get through there as fast as possible. 

Which I did.  Man, I set a land speed record.  San Diego to downtown LA in 1 hour 15 minutes.  To the downside of the Grapevine in 2 1/2 hours and all the way home to SF Area in 6 1/2 hours.  Flying!

Not a lot of time for music, but the player was always going.  Here's what played.

Joey Ramone  - Ya Know?

Ok. We all know Joey Ramone.  A posthumous collection of songs can often be a dicey affair.  Were these quality songs left behind by a legend or crap demos rushed out by greedy record execs to capitalize on his still surging fame?   Fortunately, and undeniably, the former.  When Joey Ramone died from lymphoma in April of 2001 he left behind a cache of songs in various states of completion and fidelity. Some of them appeared on Don’t Worry About Me, released in early 2002.  Now a decade later comes another batch of Joey classics.   One cool thing is that the music itself was re-recorded by a handful of Ramone’s friends and collaborators over the years, including Joan Jett, the E Street Band’s Stevie Van Zandt and Plasmatics guitarist Richie Stotts.  Sure, they're a bit more produced than we'd expect from a Ramones release, but the quality of the songs deserves it and never do they suffocate under the production.

Instead, what we got are some slightly poppier than expected, but still full-on Ramones-esque cuts like, "Rock 'n Roll is the Answer, and "Going Nowhere Fast."  Joey's voice is perfect throughout.  That same voice we've known all these years, sounding strangely liberated, having fun, and more soulful at times than I'd expect.  All in all, songs that do the legacy of Joey proud and make us realize just how much we miss him.

The Bombay Royale - You Me Bullets Love 

As the Pacific Ocean began to fade away to my left side, and the sprawl of Orange County took over, Joey Ramone popped out of the player and this . . . this . . .  well, this way cool disc popped in.  The band name and album title kinda say it all.  Imagine if Peter Gunn took a rocketship to Bombay in the mid-60's.  James Bond in New Dehli.  Freaky cool spy-theme instrumentals mixed with Bollywood psychedelic cinemascopic dreams.   Trumpets, trombone, keys, sitars . . .it's all here.  Some violin, some almost flamenco sounding horn.  Even a beach guitar vibe.  It's just crazy cool.  A lost 60's spy-flick soundtrack in search of the perfect love-in groove-fest movie.  Put this on as the party starts and watch the eyebrows raise, the hips shake, and the lava lamps flow.  Groovy.  http://thebombayroyale.com/?clickthrough=1

Corsair - S/T

Another band I know well making the perfect accompanyment to my drive as I blow through LA.  And in case you can't tell by now -- I just can't blow through LA fast enough.  It was a while back that Marie Landragin dropped their debut EP into my lap, and now they're following it up with a ful-length.  Yep, everything I loved about the debut is still their.  That fantastic dual lead harmony guitar work, the raw and roughened production, the faint NWOBHM DIY feeling, all the way down to the self-printed CD cover.  Perhaps this one leans even more into the Thin Lizzy camp, with a track like "Chaemera," sounding like it could've been a lost outtake or demo, with the harmony guitar leads and the very Phil Lynott-voiced phrasing.  In truth, I'd love to see them bust a bit more away from the Lizzy blueprint and explore some of their own territory, but if you're looking for an old school, guitar rock album, look no further.  http://corsair.bandcamp.com/

White Light Cemetery - S/T EP

Ok.  LA is behind me.  Hell yes!  Open road ahead.  Time to rock.  In pops the new White Light Cemetery Ep and I'm groovin' just fine  Hands pounding the steering wheel in manical fits, head bopping dangerously away from watching the road, foot stomping on the gaspedal like a damn bass drum.  That's what WLC does to me.  A bit post-grunge, NOLA rough 'n ready rock.  Yeah, there's lots of COC in there and the songs aren't complicated, but who the hell says rock has to be?   This is balls out sludge-fest of gutty vocals  and pounding shit.  I know these guys.  I love these guys.  I put them on the Ripple Effect Presents: Volumen One, didn't I?  Now go listen to them.  http://www.reverbnation.com/whitelightcemetery

Jazzanova - Funkhaus Studio Sessions

Getting closer to home.  Ears starting to bleed.  Need to calm things down a bit.   Jazzanova have been around for years and years.  I've got lots of their chill-out jazz/soul triphop stuff lying around and I've always dug them.  This album is no exception.  A bit more R&B at first than I expected, but good R&B.  Not overly produced. Soulful with dynamite vocals.  Playful and fun.  It's allowing my ears to rest as the album plays out through moods of gentle dance, downtempo, funk, jazz and always soul.  Always soul.  Definitely worth checking if you dig R&B and can't believe what the producers have wrecked upon that once proud genre.   http://www.jazzanova.com/

The Orb - Featuring Lee Scratch Perry - The Observer in the Star House

Ok.  Home stretch.  Pulling off the 5 onto the 580 and close enough to home that I can smell my dogs waiting for me.  In pops the "scariest " CD of the batch.  What do I mean by that ? Well.  I know Lee Scratch Perry.  He's a well-deserved legend of dub and reggae.  And I know the Orb, and I've been less than impressed with their overly-synthed dance/trance stuff over the years.  So what happens when you combine a legendary producer/toaster with an electronic dance outfit that hits me like fingernails on a chalkboard?   Surprisingly, a damn fine dub record.   Fortunately, the album is all about Lee Perry.  His unique scratch of a voice, his tone, his phrasing.  In fact, it's not that different from the last Lee Perry album I reviewed.  But the Orb do make their presence felt, in very understated, wel-done effects, tones, and beats.   Swallowing the 20 billion beats per minute flavor of modern dance/trance, The Orb blend beautifully with the vibe of Perry's dub.  It all just flows and ebbs and does so seamlessly.  Diehard fans of the Orb's ambient house may hate this album.  But fans of experimental dub have nothing to fear.  A perfect ride to end my drive. 

That's all. . . until the next roadtrip.

--Racer

Ripple Effect Unleashes 5 Year Anniversary Free Download Compilation

What started out five years ago as a forum for two music lovers to share their obsession with obscure/little-heard rock music, has grown and evolved into a Record Label, a top-rated Radio Show, and one of the world's premiere sites for discovering new and lost classic music: The Ripple Effect. To celebrate 5 years of collective Ripple Madness, Todd Severin (Racer X) and John Rancik (Pope JTE) are unleashing a massive download compilation album, featuring some of the best of the new wave of modern heavy rock bands. And it's all entirely free!

Best of all, the compilation features many brand new, previously unheard, unreleased tracks by some of the bands leading this charge of the Heavy. In addition, you'll find tracks from several albums buzzing across the websites and music blogs, and several new and waiting-to-be discovered bands.

To be released on July 22, through bandcamp, The Ripple Effect unveils, The Ripple Effect presents: Volume 1- Head Music. In it's depths you'll find such notable bands as Stubb, Ape Machine, Devil to Pay, Miss Lava, Voodoo Johnson, Borracho, and more. 23 tracks in all. All free. Some of the absolute best heavy rock the world has to offer.

To download your free copy, go to the Ripple Effect bandcamp page and get yours today!

And continue to check out The Ripple Effect each day for the latest music discoveries, and the Ripple Music record label for the latest releases from bands like Stone Axe, Mos Generator, Grifter, Trucker Diablo, Poobah, Fen, JPT Scare Band and more.

Here's the track listing:

• Devil to Pay "High Horse" - from the album Heavily Ever After
• White Light Cemetary "The Wieser" - previously unreleased
• Torso "One" - from the EP Inside
• Cody Foster Army "Built Up Knocked Down" - previously unreleased
• Stubb "Under a Spell" - previously unreleased
• Space Probe Taurus "Ridin' the Mud" - previously unreleased
• Concrete Sun "Silver Tear" - previously unreleased
• Hong Faux "Bad City Blues" - from The Crown that Wears the Head
• Hosoi Bros "Wine Witch" - from 7" single Wine Witch/Yellow Fever
• Ape Machine "Everybody Bleeds" - previously unreleased
• Deadweight "Cosmic Lunch" - previously unreleased
• SuperGiant "Rosey Posey" - from Pistol Star
• Voodoo Johnson "Swear it to the Sun" from ep Black Powder Mother Loader
• Banda de la Muerte "Espiritu en Paz" -from Pulso de una Mente Maldita
• Venomin James "Seven Years" - previously unreleased from upcoming album Unholy Mountain
• Miss Lava "Ride" - from upcoming album Red Supergiant
• Steak "Machine" - from ep Disastronaut
• The Heavy Company "Groove a Mile Wide" previously unreleased from upcoming album Midwest Electric
• Dark Earth "Dark Earth" - previously unreleased
• The Enders "Self Deluded" - New Previously unreleased from upcoming album "The Ruins of Ambition."
• Borracho "All in Play" - Live version, previously unreleased. Album version from Splitting Sky
• Arise Within "Black Pearl" - from album Volume 2
• Knall "Dark Amber" - previously unreleased

Never To Arise – Hacked To Perfection

In my never humble opinion, one of the true joys of music is that no matter how many songs you’ve heard, no matter how many bands you’ve seen, no matter how much you think it’s all been done before, it never fails that you hear a new album or you see a new band perform live, and they grab you by the throat and don’t let go.  Sometimes it’s the energy of the performance, sometimes it’s the sheer brilliance of the songs, but whatever it is, it happens often enough that it makes you want to continue to seek out new music.  At least in my world.

So here we have Never To Arise, a new band out of Florida.  Actually a death metal duo, and man do these guys have the goods.  I received this promo, started listening to it, and within about 45 seconds had a stupid, shit eating grin on my face and involuntarily said, “Fuck Yeah!!”  This was, like, the same day that a buddy of mine had been lamenting all over Facebook about how “new” death metal bands just did not have it any more.  I immediately referred him to Never To Arise.

According to the press release accompanying the music, these guys are recommended if you like Death, Dying Fetus, Suffocation, and Malevolent Creation.  And let me be crystal clear, they do not sound like carbon copies of those bands, they have their own unique voice, but if you do like those bands just mentioned you too can have a giant shit eating grin on your face.

This is quality, well written music.  I’ve heard many death metal albums that just blend together, so you can’t tell one track from another, or for that matter, you forget what band you are listening to after about 3 tracks in.  Each track here is unique, has great parts that blend well with all the other parts, and are performed very well.   There really is nothing with this album about which I could complain.  I LOVE it!!  This is the kind of album that makes Odin’s shriveled black heart sing for joy.

They only bad thing about these digital promos is that you don’t get a lyric sheet, and I love me some death metal lyrics.  But take a gander at the song titles and I think you’ll know what to expect from this.  “The Femicidal Impulse”.  “Hyberbaric Torture Chamber”.  “Sloppy Surgery”.  “In Debasement”.  “Mutilation Supreme”.  “Bereft Of Conscience”.  “I Made Her Famous”.  (Probably my fave from this release).  “Snuff Film Superstar”.  “Devoured By Wolves”.  “Misogynistic Acts Of Barbaric Sadism”.  And a comment on this last track.  A death metal track that goes almost 9 minutes is usually, quite honestly, a train wreck.  But not in the hands of these lads.  Again, a very well written and performed song that doesn’t seem like it lasts 9 minutes, which is a sure sign that they did something right with it.

In case you hadn’t noticed, I cannot say enough good things about this release.  I really dig it and you should really make every attempt to get it in your sweaty, metal hands.  Bands don’t always make death metal records like this anymore, but if your tastes run to the old school and well written songs, check this one out.  Your ears will thank you, your brain will thank you, and your faith in death metal will be restored.

 - ODIN

Dead Sara - S/T

In the world of rock n' roll, there's a lot of crappy bands, a few good bands, and fewer great bands. However, every now and then there's those bands that come along where you listen to them and immediately go, "They've got it!" That phrase right there is hard to describe. It's something within the music, something genuine, something that just clicks. When I first heard Dead Sara's EP The Airport Sessions, I immediately said that very very phrase to myself - "They've got it!"

Now that Dead Sara has released their first self-titled full length album, it's been a breakout year for the band. They have just made a featured slot on the Warped Tour and will be touring with The Used across the USA. Last year, they opened for Bush, and they are riding high with their first single, "Weatherman," a hard rockin' song that's been gaining a lot of buzz for the band.

Fronted by the versatile vocals of Emily Armstrong, whose range can handle blues, soul, as well as unleash a gritty rock n' roll howl full of intensity. Besides Armstrong's amazing vocals, the electrifying band is also driven by Siouxsie Medley's guitar playing, a no non-sense style that blends melodic and heavy riffs into a perfect cocktail of hard rock.

Not to take away from the other members of the band. After all, a band is a cohesive unit. Either the chemistry is there or it's not. Bassist Chris Null and drummer Sean Friday also add to the electrifying dynamic of this band with their straight-forward style. Dead Sara is a tight band that knows how to write damn good songs, whether they're straight up rockers or heartfelt ballads. This album has intensity yet diversity as well. It's far from a boring one-dimensional album.

The albums opening song Whispers And Ashes eases you into the album. It's more of melodic song and has a hint of a U2 vibe. The song is extremely well-written, and a bit of a departure from the sound off their EP.

One of the stand out tracks on Dead Sara's new release is We Are What You Say,  an up-tempo song with a massive hook that's just undeniably - catchy. The song is no slouch, however. It rocks, and I think this song should've been the album's first single, as opposed to Weatherman.

Monumental Holiday is another fast-paced rocker that just has one of those great riffs that's reminiscent of the 90s grunge/punk sound. I can see this song on a soundtrack to an action film. The movie that comes to mind? This tune is perfect for another Crank flick.

Test My Patience is another great song that rocks good and proper, but the great thing about Dead Sara is the genuine emotions they capture in their songs. The three ballads - Dear Love, Face to Face, and Sorry For It All are extremely soul full. It's on these songs, you can really hear Emily Armstrongs amazing singing chops as well as lyrical writing talent.

Though Dear Love could very well be the album's hit song on the lighter side, Sorry For It All is by far the most heartfelt. Although I prefer their original version with just guitar and vocals, the new album's version is an interesting take on the song.

I've been waiting a long time for their album to come out. As I've said countless of times to people, Dead Sara is going to be a huge band in mainstream rock, and there's a reason for that. Don't believe me? Just take a listen. You can find Dead Sara on the Warped Tour and on the road with The Used!

--Boogs

Sleep - Dopesmoker - Reissue

As of the date of my submission, there's no downloadable content available from Sleep. Which means I have to stream it to hear it at all.

It's not like the album's called Dopesmoker, or anything... that implies one would do well to listen to this one NOT chained via headphones to their computer....

Fine! I'll stream it! Anything to just hear it!

Because I am a whore for Sleep! And Southern Lord in general! I even bought a freaking Sleep shirt for my wife, who doesn't even like metal! And she wears it! And gets compliments on it! And then says, "It's his."

Even though I have the first two iterations of Dopesmoker (Jerusalem and Dopesmoker), I am (quite figuratively) dying to hear this one-- it's remastered, there's Arik Roper's new stoner-via-Dune esque cover, there's crazy anecdotes about the recording of the album, e.g.:
Pike stated that the "song was getting slower and slower and then it got weird. We started tripping out and second guessing ourselves." Recording the album was difficult. Pike   recalled that "there was so much to memorize for that album, and we had to do it in like three different sections because a reel-to-reel only holds 22 minutes. It was really cool, but it was one of the hardest things I've ever done in in my life." SLEEP were in the studio for one month then went home to rehearse and returned for another month. Pike noted that they ended up with two or three different versions of the song.
It also features an unreleased live recording of a live performance of “Holy Mountain” from San Francisco’s I-Beam in 1994.

When Racer sent this to me I was literally listening to the older version of Dopesmoker on the stereo. It's fate/ kismet/ karma/ destiny....

Ironically, there is no weed with probably a quarter mile of me. Interpolate as is your wont, my minions. You may find this fact journalistically-dishonest (Pike and co. have said repeatedly that Dopesmoker was written to be heard while stoned), but I feel I must fully disclose.

So:

I've heard this new version a dozen times now: the first thing you notice is that the riff entering at around 0:15 is much clearer and louder. I don't really know that much about remastering, mastering, et cetera, and maybe they've only made it louder, but I can actually hear the pick hitting the strings, whereas on the version of Dopesmoker I'm familiar with, it's a bit harder to pick that out. At this point, I want both versions of Dopemoker on vinyl, at jet-engine volume, to truly try and parse the differences between the two editions.

Of course, my lineage is mostly German and Scandinavian, a notoriously-detail-oriented/obsessive people, and I personally am anal-retentive as fuck, so maybe I'm overdoing things.

Again: interpret as is your wont.

At about 21:30, once everything but the main riff drops out, you can again hear the strings over-vibrating against the pickup... which is pretty cool. I feel like I'm standing right next to the band in a small room without carpeted floors.
The lyrics, too, are a bit more clear: the first line "Drop out of life with bong in hand" is easier to understand, as is the classic, "Lungsmen unearth the creed of Hasheeshian."

Man. That's some obscure poetic shit that Rimbaud, William Burroughs, Baudelaire, Rumi and Kerouac would find obtuse.

How can you not love that?

If nothing else, the reissue reiterates why it's such a great record (if you truly let it in, stoned or not)-- it just comes in and sweeps itself through your brain, it says to you we have all the time in the world, let's use it thinking of far-away lands that before this record you found impossible to believe existed....

If you already have the old version of Dopesmoker? If you're really into it, you'll wanna check this out. Otherwise, stick with the old version. Tune in, turn on, burn out, daddy-o....

--Horn




[Southern Lord's Press Release about Dopesmoker: http://www.southernlord.com/band_SLE.php ]

[Southern Lord records' Deluxe Reissue of Sleep's Dopesmoker is released internationally on May 8, 2012.]

Cortez - S/T

This is one of the easiest reviews I'll ever get to write. Cortez is one of my favorite contemporary bands playing mid-tempo heavy rock. They have a new DOUBLE ALBUM on 180-gram vinyl with great cover art that's worthy of acrylic on denim. All the kick ass songs I've been hearing them blast out at shows the past 4 years are now documented and now I know what the songs are actually called. It's the full meal deal! Be warned, there isn't a parental advisory sticker on the cover but there are a lot of pottymouth lyrics.

Since their 2007 EP Thunder in a Forgotten Town, Cortez switched singers and lost a guitarist but the changes only made the band stronger. Lots of bands out there are playing in a heavily Sabbath influenced realm but Cortez is one of the few to utilize more than just the usual Master/Volume 4 riff rehash. For those of us who have spent decades analyzing the Sabbath family tree know just how much killer shit there is that people tend to overlook. The reason why all those Black Sabbath, Led Zeppelin and Deep Purple records are so classic is the variety. Cortez understands that and plays the music they want to hear. I wanna hear it ,too and have been playing the hell out of this!

Album opener "Johnny" is the perfect introduction to Cortez. Guitarist Scott O'Dowd laying it down hard and heavy. Drummer Jeremy Hemond comes in with one of his patented Cozy Powell-esque drum fills to signal bassist Jay Furlo to start thudding away and singer Matt Harrington starts belting it out big time. This is a fast and catchy song that I guarantee that you will cause you to increase the volume at least twice before it's over. The rest of side one is equally killer. "All Hail" is slow and powerful while "Until We Die" has a killer trippy jam in the middle. "Ride On" is easily my favorite Cortez song. Kick ass speed limit rock with references to cheap beer and dirt weeed. You will definitely want to crank this one loud when you cruise around the parking lot looking for a spot at the Priest concert. It's too bad radio stations don't play album sides anymore, this would be a good 'un for people to get down to this summer.

And the other sides ain't bad either! Side two shows them stretching out with some psychedelic warrior jams like "Wormwood" and the Mountain-influenced "Beyond The Mountain." "Monolith" has some excellent Corky Laing style cowbell and "Immigrant Song" moans. Side three has great songs like "Nice Try" and "Northlander" but "Satan" towers high above them. If you ever wished "The Tempter" by Trouble wasn't so damn pro-Jesus, then you've got a new favorite song. Also, anyone that loves the song "Warhead" will be thrilled. Side four (!) has raw demo versions of "Johnny," "Until We Die" and "Monolith" as a nice bonus. The music's heavy and the vinyl's heavy. What more could you want?

--Woody

Not sure of the exact street date on this one but their record release show in Boston is 5/5 with special guests Mighty High.

Band website

http://www.cortezboston.com/

Buy from Kozmik Artifactz

http://www.kozmik-artifactz.com/shop/index.php?cat=c170_KOZMIK---BILOCATION-LABEL.html&XTCsid=4d8a9ced74923384fe1d49242bd35b47


"Johnny" on bandcamp
http://cortezboston.bandcamp.com/album/cortez

Teramaze - Anhedonia

Teramaze sound like dream theater with some balls. True to thrash form they unleash plenty of staccato riffing but temper that steel with some killer vocals. Undoubtedly these guys are looking to make an impact on their scene down under in Australia.  I like it when you really have to strain to pick out the influence a band has. That, to me is a sign of a great band.

This one grabs your attention from the first riff and shakes you around like a great white shark. Tracks that stood out in my cd player were. “Machine”, “Fear of the Unknown”, and “without Red Hands”. This is a sound that combines so many of today’s new metal with the thrash classics of old. Bands like Testament come to mind as well as Nevermore.

 Mick Tallent on drums and Tijon Lolis on Bass are a juggernaut. Chugging through the backline like a freight train. These two are tight and this album owes a lot to their strength. Check out title track, “Anhedonia”, and “Black Circles” to get a complete sense of their power.

  Guitarists are often either pushed too far to the front or buried in the mix. Not so with this album. Perfectly matched and just simply incredible guitarists, Matthew Dawson and Dean Wells lay down a frontal assault of six string carnage. “ Black Circles” contains a screaming lead. I can’t get enough of the power of this band.

 Brett Rerekua on vocals is allowed to put in some incredible runs as his band stirs up a psyclone around him. He rises above the chaos and screams, sings, growls, and serenades your ears like a banshee gone wild.  He makes you sing along with their infectious and progressive sounding tunes.

  I was not expecting the wall of sound that melted out of my speakers on this one. Just a great album with some killer production.  Find this album wherever and however you can and buy it. Then buy another one and pass it on to your best friend (yes this album is that good).


--MetalRising

Wino & Conny Ochs - Heavy Kingdom

“Hi everyone I’m Penfold.   Welcome to Penfold’s Wildlife Adventures.  In today’s episode you’ll follow along as I try to observe the legendary Wino and his latest musical accomplice Conny Ochs in their natural environment, the Heavy Kingdom.  That’s right friends!  I’m travelling deep into the heart of the Heavy Kingdom, and I don’t know what I’ll find once I get there.  All I know for certain is that I have to go.  This is a once in a lifetime opportunity!  Join me won’t you?”

“Welcome back friends.  My crew and I touched down at an airport near the outskirts of the Heavy Kingdom about an hour ago.  Once we retrieved our camera equipment from the tarmac we passed through customs and met up with our guide.  His name was Gunther, and boy did he ever look the part!  He was dressed in all black from head to toe.  Black shoes, black denim jeans, thick black belt with an enormous silver animal skull buckle, worn black leather vest over worn black t-shirt.  Couple that with his unkempt hair, multiple piercings and omnipresent sneer.  This was obviously one heavy dude.  Nobody messed with Gunther.”

“We drove in Gunther’s vehicle, which to my estimation was more like a tank, through the Kingdom’s treacherous landscape.  Navigating several deep ravines filled with enormous boulders fallen from the towering mountains looming overhead was rather intimidating.  Thankfully, we eventually cleared the mountain range and emerged into an expansive savannah.  Everyone took out their cameras when we noticed several herds of large animals grazing in the distance.  If we were not on such a tight schedule I would have asked Gunther to stop his half-track.  It’s too bad, but the photos turned out great!”

“A short time later the sun began to disappear below the horizon.  As the day turned to night, Gunther pointed out lights emerging from the darkness far out in front of us.  He informed us that those lights came from the capital city of the Heavy Kingdom.  I couldn’t believe it.  We were almost there!  Sure enough, as we got closer to our destination the lights got brighter and brighter.  More numerous too.  When we were still several miles away I could easily make out the gigantic ring of skyscrapers that effectively formed the capital city’s border.  Passing beneath these sky-conquering structures we entered into a virtual labyrinth of streets and alleyways.”

“Thank goodness for Gunther.  Left to my own devices I would never have been able to find my way around this bustling city.  Fifteen minutes later our guide stopped the vehicle and pointed to his right.  I turned in my seat to see a small building sitting between two skyscrapers.  The front of the building was unadorned except for a neon sign indicating the door was open.  I thought Gunther was kidding me, but he insisted that the men we were looking for would be inside.  Trusting our guide my crew and I exited the vehicle and entered the building.  Sure enough, there on a slightly elevated stage were two men with guitars in hand standing in front of some speaker cabinets.  Could it be?  Yes!  Yes it was!  It was Wino and Conny Ochs!”

Good day waveriders.  Truly, I mean that.  This is a good day.  Scratch that.  This is a great day!  What fills me with such positivity?  Simply this.  I’ve listened to the stunning new Wino & Conny Ochs album Heavy Kingdom.  Stunning might not be a strong enough descriptor in this case.  I’m really not interested in mincing words right now.  Heavy Kingdom is firmly planted in my list of the best albums of the year, and it’s staying there.  Allow me to persuade you as to why you should all feel this way too.

If you are a regular visitor to The Ripple Effect I’m one hundred percent certain that you do not need me to explain who Scott “Wino” Weinrich is, or explain that this man is a legend in several heavy metal circles.  His work in bands such as Saint Vitus, The Obsessed, The Hidden Hand, Shrinebuilder, Spirit Caravan, etc. speaks for itself.  Conny Ochs on the other hand might be an unknown quantity.  I was introduced to this talented young German artist in early 2011 when I had the opportunity to review his solo debut album.  Raw Love Songs drilled the name Conny Ochs permanently into my brain with its elegance and emotional resonance.  I love that album!  So how did these two artists meet and decide to write music together?

The genesis of Heavy Kingdom occurred back in 2010.  That was when Conny Ochs opened up for Wino on his solo acoustic tour in support of Adrift, his latest album.  As the story goes, the two artists immediately found musical kinship and by the end of the tour they were performing with each other onstage.  I suppose I would call that a pretty good indicator for future collaboration.  Not wasting any time the two recorded an album of material near the end of the tour entitled Labour Of Love.  Honestly, I had no idea about this album until I had done some research for this writeup.   Fast forward to 2012 and we have Heavy Kingdom.

Allow me to reinforce my position.  Heavy Kingdom is a magnificent album!  These two musicians have put their heart and soul down on each of these eleven songs.  Conny Ochs’ soulful, haunting vocals perfectly complement Wino’s gruff, weathered voice when he is singing lead (and vice versa).  The only other instrumentation on these tracks is their guitars.  That’s it.  No bass.  No drums.  No strings.  It’s just two guys with their guitars laying down some serious music.  Perhaps it is due to this simplicity that these songs sound so incredibly honest.  They’re beautiful.  They’re moving.  They’re heavy as all get out!  You can ask me to pick a favorite out of the bunch but you’re wasting your breath.  I’m telling you it can’t be done.  Different songs offer different observations and provoke different emotions.  One day I’ll favor a song like “Heavy Kingdom”.  The next I’ll favor “Dark Ravine”.  The point is that every song on this album is a winner.  It’s true.  I watched the entire ribbon ceremony online.

Waveriders you have to hear this album!  If you’re a follower of Wino or Conny Ochs this is a mandatory listen.  If you are a fan of honest musical expression, pick up a copy of Heavy Kingdom immediately.  While I can’t make the claim that this music will change your life, I can promise that it will definitely alter your listening habits.  Whatever you are listening to now will have to make room for Heavy Kingdom.  My apologies go out to those albums that fall by the wayside.

--Penfold

Pussy - Invasion

Only a real friend will send you Pussy in the mail. Thankfully I have such a friend in Racer. He could have been greedy and kept the Pussy all for himself, but no, he let me have it. A month or so ago, Racer said he was going to concentrate his Ripple ramblings on his beloved but neglected Proto-Metal report. His reviews of bands like Toad, Jerusalem, Iron Claw, etc was a big factor for me getting involved with these clowns a few years ago. Jerusalem's album is a real favorite of mine and I was thrilled to find out that they gave birth to Pussy.

Jerusalem's self titled album was released in 1972 and produced by Ian Gillan. That's all it took for me to pick up a copy of Rockadrome's reissue of it. Thankfully the music was just as primitively heavy as I had hoped but I must have forgotten that the band later morphed into Pussy. So when this showed up I rushed straight to the stereo to get a taste of this Pussy. It did not disappoint. This is some fine, fine Pussy indeed! While not as heavy, Pussy's Invasion is a definite growth from Jerusalem and reminds me a lot of the band Hard Stuff, another band associated with Deep Purple. Bassist/vocalist Paul Dean was the main songwriter for both bands and there's a definite refinement in the material and the playing. He's joined by Jerusalem drummer Ray Sparrow. Guitar duties were originally handled by Bob Cooke who was later replaced by Brian Goff. Tracks 1- 10 were recorded for an album that was never released with Brian and the bonus tracks from their original single and outtakes are played by Bob. Both guitarists are nothing fancy, but solid British blues-rock players. Everything was produced by Ian Gillan, who also throws in some backing vocals and percussion.

70's rock freaks will definitely want to get ahold of this. There's tons of flange on all the instruments, bluesy guitar solos and plenty of mid-tempo heavy rocking beats. Plus, you gotta love a band called Pussy that wrote a risqué song like "Feline Woman." As George Clinton once said, "more power to the Pussy!"

--Woody

http://www.rockadrome.com/superstore/product_info.php?products_id=5792

Cattle Decapitation - Monolith of Inhumanity

So here's my thesis:

Death/grind is the new thrash metal, updated from around 1985, to now:

it's sophisticated in terms of musical structure, rapid key changes, and challenging melodic (riff) formations-- it's hard to play, yet blisteringly furious (i.e., aggressive and fast)... a great balance of savagery and technical ability: witness Danny Lilker's definition: technical and yet intense....

So, I got the advance copy and promptly burned into onto a blank CD and played it at jet-engine volume on my Tank-like If Outdated Speakers ©... because I know one thing, and I know it well:

Death/Grind, as a genre, is useless played at anything less than loudest-sound-possible (194 Db) volume: that's where it's made to be.

Like extreme forms of free jazz, this music is meant to permeate you, to absolutely be your everything for the time you're listening to it-- or to be nothing.

This is the complete opposite of background music.

BUT: give it the chance, and this will OWN you. It's perfectly, ridiculously extreme in that Death/Grind way, but is also full of surprises and tiny evolutions and tempo, key and texture changes enough to keep your cerebellum interested, while your reptile brain writhes in ectothermic ecstasy....

There's sweep-picked solos, blast beats, breakdown (all while being respectably detuned), blah blah blah-- you like extreme metal?

Monolith of Humanity is worth your while.


--Horn

[Monolith of Inhumanity is released worldwide on Metal Blade records on May 8, 2012.]

Job For A Cowboy – Demonocracy

 

I went to a metal show last night and it just hit me how much I really love metal.  I hadn’t been to a show for a while, as I’ve mostly been attending shows on the mellower side of the spectrum.  It was in a sweaty little bar, on a Monday night, the bands were either locals or out of town with just enough resources to put a small tour together.  There weren’t any big name bands, there were maybe 75 of my fellow metal heads there, but it was just awesome.  I listen to a lot of metal either for these reviews or for my radio show, but there is nothing quite like being at a show, and feeling the metal.  For me, there are very few better things in life, when it all comes together and you have a great time at a show.

So what does all that have to do with the new Job For A Cowboy  CD?  Not much, honestly.  Except I really dig this new CD too.  I’ve been a fan of the band since their beginnings.  This seems to be another of those really polarizing bands, people seem to really love them, or really hate them, with not much in between.  I know there are those who feel that the band just happened to be in the right place at the right time and that is the only reason they are successful, at least by metal standards.  There are those who will tell you that you can’t tell one song from another, and yeah, there is a little of that.  But they are damn good band and this new release really shows that.

Job For A Cowboy have gone through some lineup changes since their last release, and in my opinion the changes are for the better.  They seem to have injected some new energy into the band and it is immediately noticeable.   One of the previous criticisms of the band is that they played the much reviled “deathcore” style of metal.  That is gone, let me tell you.  Opener “Children Of Deceit” is a full on death metal assault and everything continues on from there.  “Nourishment Through Bloodshed” and “Imperium Wolves” continue the bludgeoning.  Then, lo and behold, something to shut up the haters.  “Tongueless And Bound” comes along with an intro that verges on the black metal side, and there is some actual variance in tempo in this track.  With this new lineup, there seems to be a new found sense of dynamics and variety in the song writing.  I’d love this CD anyway, but these added features in the songs are pure gravy for me.

Tracks 5 and 6, “Black Discharge” and “The Manipulation Stream”, respectively, continue the brutality, but with some nice twists and turns.  Many metal releases start out strong and seem to fizzle at the end, but “Demonocracy” ends on a high note, with a trio of powerful, hard hitting tracks in “The Deity Misconception”, “Fearmonger”, possibly the best JFAC track in their catalog, and “Tarnished Gluttony”.  The final track is over 6 minutes, an eternity for this band, and really shows off their new song writing chops.  This one is a definite change of pace from anything else they’ve ever recorded and a great way to close out the album.

If you’re determined to hate them, this release probably doesn’t go quite far enough to change your mind.  But if you can keep your mind open, you’ll find a very strong release from a band that just keeps getting better as they go along.

- ODIN

apb - Jaguar

 

In many ways, apb is as responsible for The Ripple Effect coming into existence as any band out there.

I don't know when it was that Pope and I first discussed the idea of The Ripple Effect, but our intentions weren't grand.  We never set out to be a "big" music site.  We didn't want to publish news or "hip" viral videos.  Really, all we wanted was to review the enormous mass of CD's and vinyl in our own collections with a pointed eye towards those bands that never seemed to get their fair shake of fortune and fame.  Music that should've caught a bigger ear than it ever did.  We wanted to make ripples.

When that first review published in October of 2007, launching the Ripple upon the unsuspecting world, our first article was Something to Believe In, the killer punk/funk compilation of rare singles from Scottish underground post-punk legends, apb.  It was only natural.  I'd been burning apb into anyone's brain who'd give me a moment of their time for decades.  At KSPC FM, apb was always heavy in my rotation, getting a spin at least weekly.  Led by the explode-my-mind manic funk bass and school-boy vocals of Iain Slater, the pacemaker solid and crisp funky drumming of George Cheyne, and the epileptic spasms of punk guitar from Glenn Roberts, there's never been a band who sounded like them.  If you stepped into the station at the right (or wrong) moment, you'd see a very compromising image of your disc jockey, Racer X, flailing around the studio in some uncoordinated white-boy-tries-to-funk dance, thumb thumping away on an imaginary bass, ass going in several wrong directions all at once.  And if that didn't frighten you to death, I don't know what would.

But back in 2007, Something to Believe in had recently been celebrated in a deluxe-edition reissue, and as interest in the band was rekindled, a live set from the BBC was unleashed.  It seemed like time was right for a reunion of the mad punk pioneering Scots.

And as fate would have it, right after I wrote that first review, George Cheyne contacted me with the news that the band had recently reformed and released their first album in more than 20 years.  That album 3, proved that the crew still had it in all the right places.  The punk was punkier, the funk was . . .er . .  .funkier.  Everything was tight and rocking and damn if it didn't feel good having apb back.

Well, 3 turned out to be only the beginning, because apb have just roared back with another new release, the feline-dangerously titled Jaguar and it proves defiantly that 3 was no freak flash-in-the-pan reunion.  Those of you like me who love the classic apb sound, we just got fed a thick slice of manna from heaven.

Now, I gotta reveal my bias here.  I have everything apb has ever released.  I mean everything.  Every 7" single on those tiny UK indy labels.  Every 12" single and EP.   Their albums, their test pressings.  In fact, I have more apb 7" singles than drummer George has or even knew existed.  So, I'm far from an impartial judge here.

But then the goal of the Ripple was never to be impartial, damn it.  Our goal has always been to bring light to those bands and albums that just need to be heard.  And believe me, Jaguar is one of them.

From the first bass thump and staccato slice of guitar that starts "Cradle to the Grave," this is the classic sound of apb post-punk funk roaring back to life.  Ironically, blasting out a song about the indignities and lost dreams of getting older, apb sound positively time defiant.  Iain's bass leads a bouncing funky swath that Glenn explodes into wide paths with his chopping blitz of chords.  George buries his head and keeps that motoring onslaught on a straight line right to that place of punk funk nirvana.  I dig it when the song jumps into hyperdrive for the bridge after the main verse, Glenn bringing a huge Gang of Four Andy Gill attack to his guitar.  All leading up the the manic build before the centerpiece lyric "And you know you're not as young as you used to be."  This is vintage apb.  Could've appeared on any Oily Records or Red River release from the early eighties in the best sense of that thought.

Now, before we go any further, we gotta look at our words.  Writing about apb isn't an easy thing because the way they merge big looping funky bass and drums with the pure staccato spams of punk guitar and energy means that I gotta write "punky" and "funky" a million times.  There just isn't any other way to describe the alchemy of their fusion. So, from now on we're gonna create our own vocabulary.  Can't use p-funk cause that terms already taken so I'm gonna go with Fu-punk.  Weak I know, but it's all I got.

So, having coined the fu-punk term, apb bring it on full-force with "Down at the Store," ramping up the pace and the angular slash of the guitar, and bringing in the smatterings of classic punk apathetic nihilism and materialistic discontent with a surprising romantic twist.  After Iain's bass rumble and George's fist-tight beat, Glen chops the chords to pieces.  Iain rails  "There is no motivation anymore/every thing is sold out at the store/the outside world is a crashing bore/everything is sold out at the store/except true love."

"Electric Boy" immediately follows next with dense and heavy descending chords through it's chorus and ass-groovy fu-punky verses.  This is a huge, huge song for apb and unlike anything I'd heard from them before.  And dig that polyrhythic percussion breakdown.  That's a band burning nitro in all cylinders.

"First Dance" percolates out next as funky as apb get, with its finger-mad bass thumping, drum attack and stinging guitar sounding like something that could've appeared on the classic "Dancability 12."  Then comes the big change.  I'd heard a rumor that there was a guest vocalist coming, but I gotta say it still caught me by surprise.   After grooving to apb for so many years, the sound of a voice other than Iain's rather thin, nasal tone sounded as out of place as former President Bush being offered a Rhodes scholarship.  Just didn't compute.  No offense to Jim Sheppard, but his work on "First Dance" and the title-track "Jaguar" just seemed like an interesting idea gone wrong.  But only for a moment.  On repeated listens, the mix of new vocals over that classic apb fu-punk settled in my ears and found a home.  It helps that "First Dance" is just an electric slice of danceable funk and that "Jaguar" explores new territory in a mid-tempo, electro-funk vein.  Either way, both songs stand proudly in the apb cannon now and Jim's voice adds texture and his own nuance. 

Still, I have to admit my pleasure when "Tangle Wires" pounds out next with a nasty Undertones-esque punk directness with Iain's nasal whine firmly back in place.  "You Give me Pain" rounds out the 7 songs with another masterstroke of unfettered apb fu-punk perfection.  Shotgun bursts of guitar searing under Iain and George's pure funk mettle.  High energy, high fun, with a touch of classic snottiness.  A new apb classic.

I'll be the first to admit that apb may not be for every one, but damn, if they aren't the one for me.  30 years on, and I still haven't tired of the band.  And if they keep pumping it out with this much timeless energy, I bet I've got another 30 years to go. 

--Racer

http://apbtheband.com/

The Vaccines - What Did You Expect From The Vaccines?

An awesome album name. That’s all it took for me to get hooked on The Vaccines with their infectious, impressive debut, What Did You Expect From The Vaccines? Immediately, the title reminded me of Never Mind the Bollocks, Here’s the Sex Pistols (which is one of my favorite albums of all time) and as a result I became drawn to this band.

As you can tell, my music tastes are quite diverse and extremely eclectic with what I want to write about. As a result, it’s difficult deciding what bands to discuss. Sometimes to my surprise there are bands everyone knows while there are others “they are just discovering.” Today is a case of the latter. Like most of my inspirations, a friend recently reminded me about a band I first fell in love with last year, The Vaccines.

While discussing the current Coachella lineup my friend asked, “Who are The Vaccines?” Knowing very well he enjoyed Noel Gallagher's High Flying Birds, The Libertines, Arctic Monkeys, I decided to play him The Vaccines’ debut album. My friend was surprised that he thoroughly enjoyed The Vaccines and with a big smile I responded, “What Did You Expect?”

What I love most about The Vaccines is they possess an indie rock sound that transcends the Atlantic. They’re part alternative and post-punk revival, yet seem to resonate with fans from all mainstream genres. Some bands remain nothing more than “local” because they lack a widespread appeal. That does not necessarily mean mainstream success, but the quality and musical message they present lack substance worthy of attention outside their various locales. This is not the case at all for The Vaccines. Everyone can relate to their songs.

For those unfamiliar about the aforementioned English bands, The Vaccines are similar to bands like The Drums, Grouplove, Noah and The Whale, The Strokes, Two Door Cinema Club, and Vampire Weekend. This English quartet is comprised of Justin Young (guitars and vocals), Árni Hjörvar (bass), Freddie Cowan (guitar) and Pete Robertson (drums).

What Did You Expect From The Vaccines? is a delightful debut that delivers one terrific track after the other. This full-length debut demonstrates it’s possible to create an 11 track album worthy of your time that’s not cookie cutter bullshit. Young’s vocals permeate incredible rawness that knocks these songs out of the park.

Beginning with the contagious “Wreckin’ Bar (Ra Ra Ra),” The Vaccines immediately expose you to fantastic, fresh catchy lyrics. “ Pretty girl, wreckin’ bar/ Ra, ra, ra, ra, here you are/ Blowing up ‘bout twice a night/ Yeah, yeah, yeah, yeah, here I am/ The Angel’s Game, F. Scott Fitzgerald/ The Evening News and the Morning Herald/ I know they’re not from very far/ But les femmes la-bas, c’est pas de joie.”

One of my personal favorites, “If You Wanna” follows. Regardless if it’s your first time or the 20th time, I guarantee you will sing along, “I don’t wanna do things independently/But I can’t make you stay/ That’s what all the friends/ I do not like as much as you say/ But if you wanna come back it’s alright, it’s alright.” Declaring your love for someone is one of the easiest, yet hardest things to do. Personal heartache is never easy to overcome and I absolutely love their songs dealing with this subject matter.

Even on the track, “A Lack of Understanding,” this heartache really resonates with me and for people still hung up on that special someone. Just the other day I stumbled upon some old photos of past girlfriends and this song came on. Boy did it really hit home with several former flames who no longer talk to me.  This genuine grieving tune brings chills all over my body with its haunting, yet true lyrics: “It’s only been a year/ But it feels like a lifetime here/ How’s it been for you? / Does it feel like a lifetime? / What would you do now in light of it all? I don’t regret it in spite of it all/ If I can’t convince you/ Then nobody can, I guess/ I’ve got too much time on my hands/ But you don’t understand/ Or you won’t understand.”

Justin Young sounds reminiscent of Joey Ramone on the peculiar “Blow It Up,” but I find it quite perplexing why this simple song persists amongst such gut-wrenching tales of woe. The captivating, catchy “Wetsuit,” with its infectious chorus “Put a wetsuit on, come on, come on/ Grow your hair out long, come on, come/ Put a T-shirt on/ Do me wrong, do me wrong, do me wrong,” is also a must listen.

Sex is all you need. It doesn’t get better than “Post Break-Up Sex,” which address the depressing subject matter in a charming way. Overcoming a relationship encompasses enduring one awkward moment after the other and this absolutely addictive song, much like that relationship, lingers in your mind for weeks. This frank and forthright tune deserves your attention in an age where vulnerability should always be recognized.

The song starts off, “I can barely look at you, Don’t tell me who you lost it to/ Didn’t we say we had a deal? / Didn’t I say how bad I feel? / Everyone needs a helping hand/ Who said I would not understand? / Someone up the social scale/ For when you’re going off the rail/ Post break up sex that helps you forget your ex/ What did you expect from post break-up sex?/ Leave it ‘til the guilt consumes/ I found you in the nearest room/ All our friends were unaware/ Most had just passed out downstairs/ To think I hoped you’d be okay/ Now I can’t think of what to say/ Maybe I misunderstood/ But I can’t believe you’re feeling good” and all I can say is wow! A barrage of emotions overtake us when we experience breakups and those feelings persist throughout our life.  For everyone who has experienced distress, this song should resonate with you.

Down to the final four tracks, The Vaccines surrender some sensational and emotional tunes that highlight them speaking from their heart. “Under Your Thumb” feels like Kings of Leon meets The Smiths, the overwhelming bassline on “All in White” brilliantly captures their vulnerability, the tight tempo “Wolf Pack” leaves you begging for more and the album concludes with the enchanting, evolving and epic “Family Friend.

If you’re looking for that next great English band then The Vaccines is the band for you. Last year when I compiled my Top 10 Albums of 2011, What Did You Expect From The Vaccines? narrowly missed the cut and persists to be one of the best debuts albums to emerge in the past five years. Fortunately for fans, their sophomore album is due out later this year and I can hardly wait.

--Mr Brownstone

Bad Religion - No Control

I bought this, way back in 1989, because Kreator's Mille Petroza wore their shirt, which was simply a cross struck-through with a "no" symbol.

Didn't know a thing about them, otherwise--  and it took many listens for this thrash-metal zealot to truly get No Control.

But get it I did. Every song, every lyric-- which to this day I know backwards. As I like to say, it gets in, it gets out, and rocks out in the interim.

It's 15 tracks of punk rock --average length of about a minute and a half-- played as fast as possible, and as literarily as possible, by a PhD candidate in southern California, who isn't afraid to include lyrics the average metalhead/punk rocker will have to look up-- and which I still often do.

It's fucking awesome, even 23 years and 5 degrees later. This album is perfect.

Highlights: "No Control"  (An utterly Zen Buddhist testimonial-- "There's no vestige of a beginning, no prospect of an end... when we all disintegrate, it'll all happen again--yeah!"), "Progress," "Automatic Man," "The World Won't Stop," and pretty much every other  track on this masterpiece from Epitaph records.

"His life is meaningful, because he gets things done... chalk up another triumph for our hero, the Automatic Man..."

It's also catchy as shit-- I'm amazed that none of this tunes has shown up in a Target ad campaign.

It's reassuring, to me, an unapologetic intellectual and snob-- these lyrics are unapologetically literate and philosophical: Greg Graffin, I fucking love you.

This is something I grew up with-- thrash metal, which came from punk rock, with its political fury-- and something that to this day makes me proud of what I listened to as teenager and what it made me, as an intellectual-- how many Debbie Gibson fans from the late 80s can say the same thing?
Some track specificness:

"I want to conquer the world:"-- dig these lyrics:
     I wanna conquer the world, give all the idiots a brand-new religion,
     put an end to poverty, uncleanliness and toil...
     Expose the culprits and feed them to the children,
     I'll do away with air pollution and then I'll save the whales,
     We'll have peace on earth and global communion...
     I wanna conquer the world... promote equality with all of my decisions, with a quick wink of the eye, and a 'God, you must be joking...!''

When was the last time you read literally anything that uplifting and forward-thinking...? In the whole of my navel-gazing life, only Krishnamurti, Jesus Christ (depending on the translation), the Buddha himself, and a select few others decreed something so forward-thinking...! Who says extreme music is stupid? Idiots!

Get in on this, you groundling bitches!!
[I'm kidding: I love you for your deliberate uncouthness.]

--Horn

Christian Mistress – Possession

Living here in the great Pacific Northwest means that I live close by to some great music put out by some great bands.  Christian Mistress is one of those bands, in my humble opinion.  They hail from Olympia, Washington, which is literally about 15 minutes south of me on I-5.  I have had the pleasure to see them up close and personal in small clubs, which I love, and to follow their releases, from the demo that got them noticed, to their first full length, and now this release, their first for Relapse.
I really love this band, and they have really grown over the course of the release mentioned above.  This one, Possession, really shows the band stretching out and doing some different things, and the results are very good.

One of the very minor complaints I had about this band is that, while they play some great, all out, thrashy kind of stuff, everything they did was in this vein.  There weren’t a lot of tempo changes or anything like that to break things up.  This new album has some very tasty slower tempo tunes and it really makes a difference when you are listening to the album.  I haven’t had a chance to see them play any of the new songs live yet but I am looking forward to it.

Possession kicks off with a barn burner of a track called “Over and Over”.  If you have heard Christian Mistress before, this track will be easily recognizable.   But with the second track, “Pentagram and Crucifix”, the changes are immediately noticeable.  The song has a nice, doomy, ominous opening before going full out.   Then on track number four,  “The Way Beyond”, we get an acoustic intro that fades into something you could call almost traditional metal. 

Track 5, title track “Possession”, is a slower tempo track that really showcases the songwriting skills of the band and was my favorite on the album.  The lyrics are great and it is definitely a side of the band not heard previously.  “Black to Gold”, the sixth song on the album, is not some sort of ode to my beloved Pittsburgh Steelers, but it’s a very good up tempo track to get things raging again after a few slower songs.  And the final 3 tracks of the album deliver the kind of music that Christian Mistress are known for.

When I heard that the band had signed to Relapse I was hoping the jump to a larger label would pay some dividends for the band, at the very least getting them some more exposure.  Hopefully that will happen, and the album seems to be well received.  But it also seems that the jump has paid off for them in terms of growth as a band all the way around.  Great release from a band that more of us metal heads should know about, so go pick this up and you’ll be happy you did.  You have my word on that. 

-- ODIN