Black Earth - Pink Champagne

 

Black Earth.  Dwell on the words for a second.  Imagine it.  Inhale it.  Feel it in your hands.
Black.  Rich.  Pungent.  Dirty.  Fertile.  Moist.

Six words that best describe the uber talented shit kickin’ powerhouse three piece from Austin, Texas.  Ladies and gentlemen, I bring you Black Earth.

The essence of our existence is the earth itself.  Where all good things come from.  Under the sun.  Holding the water.  The earth.  Black loam.  The kind that gets under the nails and stains your cuticles. (cute testicals?).  In the same gritty vein as Americana rocker greats Leroy Justice and the Brought Low from New York City, and sparked with a renewed vigor, Black Earth come roaring back with their euphoric sophomore album “Pink Champagne” produced by Chris “Frenchie” Smith.

Make no mistake, they have “that sound”.  The sound that’s going to go big come hell or highwater.  You can hear it in the strength and depth of their song writing prowess and musicianship, the sheer power of their delivery and the interwoven, in each other’s pocket, synchronous gel jamability of their live show.  The chemistry is more than evident.  These guys would KILL live!  And they have a reputation for doing just that.  As their bio reads, “they demonstrate a lot of versatility.  They’re tenacious live and can perform at will”.  They’re apt to “go off the deep end into an improvisational tangent”.  According to legend, they once did a thirty minute set and only played three songs.  The crowd ate it up.  Singer/guitar player Jason Calise captures a potent vocal combination of Mark Lanegan from the Screaming Trees and Ian Astbury from The Cult.  Influential moments from the Rolling Stones, Sheepdogs, Seven Mary Three, Faces also leak into their sound like friends dropping by for a drink and a tickle. 

Their bio continues – “Lots of indie bands use titles so generic that their fans have no clue about the light and dark places in the heart that the songs emerge from.  Not so with Black Earth, who declared ‘Hell Yeah’ from the get go on their 2008 album ‘That’s Right, We’re Goin’ Balls Deep’—a collection that also included high energy fare like ‘Whatever Happened to Drinkin’ Whiskey and Kickin’ Ass?’.

Don’t sugar coat it boys.

“Continuing the theme of high hopes followed by shattered expectations, the three began work on Pink Champagne during some of the darkest, heaviest individual periods of their lives.  Yet amidst the darkness and personal crossroads, there’s also a feeling that there’s light at the end of the tunnel.  This record also shows a different side of the band.  ‘We've been through a lot of difficult times, member changes, you name it’ says bassist  Dave Rangel.  ‘The one thing that has kept us together is the fact that we persevere and our love for music. Through this perseverance, we've been able to create some of our greatest moments.  When the chips are down, we keep stepping up’.  Pink Champagne begins in and then emerges from a much darker place resulting in an emotionally compelling work”.

Ten songs in ten days.  Take no prisoners fellas.

The album kicks off with the twangy bluesy, somewhat countrified DEAR LADY LEAN.  It offers up a grass chewin’, tabacco spittin’ feel featuring the rich, raspy vocal work of Jason Calise.  The keys sweetly blend the instrumentation on this number.  To quote Gord Downie from The Tragically Hip, it conjures up images strollin’ down a corduroy dirt country road on a dusty hot summer’s day pondering where the next paycheck’s coming from and whether the power will still be on when you get home.

The opening chords of FACE DOWN IN THE GUTTER kick ass!  The freakin’ tone drips with so much texture and taste it would make Gordon Ramsey blush.  It transitions into a flat out rocker while the vocals take on a more condensed, urgent feel - a perfect fit.  Skins monger Jason Reece performs rhythmic gymnastics on the kit while Dave Rangel ‘s bass runs are lockstep.  A couple of timely fuzzed out reprieves in the middle and near the end paint a different perspective.  Calise opens up the throttle on his otherworldly tone towards the end - just fucking epic intonations on the solo.  Lots of way cool FX here too and he works the baby wah like he’s spankin’ a wayward bastard child.  This stubborn number just does not want to quit!

HER SONG – if this song was written for somebody’s wife or girlfriend then she must be a pretty special person.  It has a very delicate Pearl Jam-esque quality to the guitar sound and song structure.  Supported by a magnificent background Hammond wash, the song explodes in a Billy Duffy inspired burst in the middle and again at the end before it returns to its original introspective roots.  Once again, Jason Calise squeezes out an exquisite fuzzed out solo near the end dripping with thick, savoury overmodulated tone!  This puppy’s spewing chunks.  Up front backup vocals bring it home.

LIVIN’ AND LOVIN’ is a hard driving, raucous rocker with an intro. reminiscent of the opening of Rod Stewart’s “Stay With Me” - only on speed.  Eventually things settle back into a steady rock groove augmented by a fun, quirky bridge.  Total live show fist pumper.

MY PRIVATE HELL – the title speaks for itself and the distorted guitar drives the dark point home and then some.  This dark little ditty’s a no holds barred, straight up, no bullshit rocker featuring even grittier vocals with no shortage of cowbell, a sweet chorus and a raunchy, rippin’ solo that’s a perfectly imperfect fit (you read that right).  Things pick up toward the end as the pace morphs into a full on gallop.  The Brought Low salute.

NO WAY BACK assaults your earholes with classic Bad Company/BTO type power chords right off the top.  It’s a simple, catchy tune that will ignite crowds into a rousing round of the chorus at a live show.  A tried, tested and true head banger for those down front.

The title track PINK CHAMPAGNE is a sweet, complex acoustic number that really smacks of the Screaming Trees in terms of feel and tone, highlighted by some newly minted, prominent, lip smacking female background vocals.

SHE DON’T WANT IT – the Valient Thorr inspired rolling riff off the top has you grasping for your pint of the good stuff and raising it in a collective salute to this hard chugging, tongue-in-cheek rocker that hollers out a delectable chorus once again smacking of the mighty Brought Low. 
Who’s complaining?

SINGLE STITCH is a great example of Black Earth’s superior song writing talent.  Epic in the most pulchritudinous haunting way.  Sublime reverbed mouth harp sets up the laid back feel of the song.  About three quarters of the way through, the guitar chimes in with more outrageous , over-modulated fuzzed out tones on the solo.  Finger lickin’ good!

SOMETHING ABOUT YOU is the longest song on the album and that’s a good thing.  It’s a stunning piece of song writing.  Right from the peeling opening chords and subsequent gloriously refined fuzzed out tones.  Jason Reece works the kit like a blacksmith pounding out a heavy masterpiece with gorgeous fills.  The song is intensely percussive and he attacks the skins once again like a mad rhythmic magician.  There’s more than a scent of the mighty Brought Low on this number as well which is certainly a welcome influence.  I also detect a slight Ray Davies/Kinks thing goin’ on too.  The reprieve in the middle showcases some mouth watering, hollowed out voice work as the BE boys take us on an extended psychedelic magic carpet ride exploring distant sonic galaxies.  This song is VERY indicative of what they’re capable of pulling off live.  It moves to a full gallop about three quarters in, right through to a rowdy, fist frenzied finish.

“As the title Pink Champagne indicates, Black Earth has a lot to celebrate.  Successful tours of Europe and the U.S. have allowed them to share the stage with killer bands from both sides of the pond like Blue Cheer, Throw Rag, Burning Brides, The Meatmen, Supersuckers, Red Fang, Early Man, Atomic Bitchwax, Gogol Bordello, Jimmy Chamberlain Complex, Peter Pan Speedrock, Jingo De Lunch, Sasquatch, Dixie Witch, Young Heart Attack and Nashville Pussy.  Black Earth was also featured in Classic Rock Magazine's October Issue # 150 with their song “Face Down in the Gutter” added to the compilation ‘The First Cut is the Deepest”.

And so they raise a toast to you.

Black Earth is Jason “Ving” Calise on vocals and guitar, Dave Rangel on vocals and bass and Jason Reece on drums (also of “And You Will Know Us by the Trail of Dead”).

~Teeder

http://www.myspace.com/blackearth

http://www.facebook.com/pages/Black-Earth/159290060949

http://itunes.apple.com/us/album/thats-right-were-goin-ballz/id275436710

The Single Life - Pilgrim - "Quest"

 


Some of the most behemoth doom music on the planet is coming from our tiniest state. Rhode Island's Pilgrim are premiering a track off their full-length debut, Misery Wizard, which is set for a Feb. 14 release on Metal Blade Records. "Quest" (9:52) is the third track off the album and starts SO lethargic and cumbersome. The Sabbath-style riffs are coated with impressive, soaring vocals at 30 seconds and the tempo picks up considerably near the halfway mark. You get a great 70s-inspired solo before the pace gradually slows back to where it started - a knee-scraping crawl. Ends with serious feedback. Yes. CLASSIC doom. Think St. Vitus and Pentagram. Nah. Think Pilgrim. Listen to "Quest" and you'll be as excited as I am for Misery Wizard and its classic doom sound. "Quest was one of our first songs," the band said in a collective statement. "It has a special place in our hearts. It tells the tale of a man's grueling journey though a desert to obtain an ancient relic locked away in a palace for thousands of years."

Read an interview with the band and listen to "Quest" here:  http://www.brooklynvegan.com/archives/2012/01/an_interview_wi_57.html

--Heddbuzz

http://www.metalblade.com/pilgrim
http://www.facebook.com/hailthepilgrim
http://www.youtube.com/pilgrimofficial

Ripple Library - Glenn Hughes - The Autobiography

Glenn Hughes HATES cocaine, but he LOOOOOVES the smell of it. Poor guy is playing bass and singing his ass off in a band called Trapeze during the early 1970's when he gets recruited to join Deep fuckin Purple in 1973 and help revitalize the band with vocalist David Coverdale. They create a monster album called Burn and go on to have major success space truckin around the globe. They play an insane show at the California Jam festival that literally set the stage on fire. But behind the scenes, young Glenn develops a taste for the high life. Mainly A LOT of coke. LOTS and LOTS of coke. How he's still alive to tell his story in this new autobiography is completely amazing, let alone be able to function as a human being and go to the toilet all by himself.

You don't have to be a fan of Deep Purple or any of Glenn's music to enjoy this book. If you want to know what it was really like back in heavy rock's golden age you need to read it pronto. There are so many sleazy, sordid tales that your mind will reel. Canoodling with Bowie, out-snorting Ron Wood, and being accused of loving chocolate bars more than his bass by Gary Moore is just the start. There are coked out trysts with Angie Bowie, Cherie Currie and maybe even Sharon Arden (later Ozzy's old lady). Then there's the usual 70's girlfriend swapping and switcheroo. His story telling isn't pornographic but gives you enough innuendo to get the drift. Later on when the drug use gets really out of control he has no problem admitting to soiling his kimono and puking up a hot dog into his hands on a commercial flight. Pretty glamorous, eh? Read Cheetah Chrome's autobiography if you want to hear how gross it is to be a low budget drug addict. At least Glenn had some big money a few times in his life.

There's music, too. After all, the Mk.III and IV line ups of Deep Purple were pretty incredible. You get the inside stories behind how a lot of the songs were written and recorded. For an out of control coke fiend Glenn has kept himself pretty busy over the years playing with everyone from Tony Iommi to the KLF. Personally, I would have loved a bit more technical data. What the hell were those ungodly large speaker cabinets he used to use to deafen people with back then? How massive was the PA system they would rattle stadiums with? How the hell did they move it from one place to another? What's he playing through these days? Maybe that will be revealed in his next book. The other thing he doesn't really mention is having the same name as the leather dude in the Village People.

Glenn's been clean for awhile now and his career is on a definite upswing. His new band with guitarist Joe Bonamossa is a success and he's playing and singing great. He's skinny as a rail but very healthy looking and determined to kick ass for a long time. As the Cove would say "God bless yer!"

--Woody

Astral Doors -Jerusalem

"Yeah...right," I remember muttering as I read their press kit. I may have giggled a little bit, too.

Ronnie James Dio (rest in peace) was one of the greatest vocalists of all-time, in my opinion, so when Sweden's Astral Doors mentioned, "the sound’s unmistakable kinship to Dio-fronted Rainbow and Dio/Martin-fronted Black Sabbath," when describing their new album, I had more than a few doubts.

Then I heard the 11 tracks of power-metal on Jerusalem and all those doubts disappeared. Poof.

Astral Doors sure backed up their claim about sounding like Dio, and then some. The similarity is so strong that it's almost uncanny, but if you ask me, Jerusalem sounds more like Dio's solo work, Last In Line and Holy Diver. Maybe that's just me 'cause I'm partial to those two albums. Whatever the case, I think Jerusalem is freaking fantastic.

I'm treated to all the power-metal essentials on this one. Clean, powerful vocals (as if you coudn't tell already) with emotional lyrics inspired by war, fantasy and personal struggles. Fiery guitars with electrifying solos. Amazing bass and drums. Got organs? Astral Doors does.

I had no idea about this band until a month ago, but they've been around the block.

BIO: 'In early 2002, Swedish guitarist Joachim Nordlund, drummer Johan Lindstedt and singer Nils Patrik Johansson teamed up and decided to write some metal songs in the spirit of the old heroes Rainbow, Dio, Black Sabbath and Deep Purple. They completed the band with organ player Jocke Roberg and with Martin Haglund on the bass....Jerusalem is a journey through good and evil. Mixed by Daniel Bergstrand, the music of Astral Doors reaches new heights. Blistering hits like "Seventh Crusade", "Babylon Rise" and "With a Strangers Eye" meets up with the epic title track and the video hit "Child of Rock'n'roll"...'

That's a coincidence. Two of those songs I decided to include so you could hear them for yourselves. Just listen and tell me this band isn't Dio reincarnated. And just check out that album artwork. Awesome. I can't tell whose side the dragon is on, though. Is it the Crusaders? Muslims? Must be Jerusalem.

What was I thinking? The Dio-inspired power-metal that I loved when I was growing up hasn't gone anywhere - I just haven't been looking in the right places. I'm glad that I finally found it again, and that Astral Doors have opened up and shown me the way.

Jerusalem is released through Metalville Records. Any fan of Ronnie James Dio will dig this music a lot. Highly-recommended.

--Heddbuzz

Doom on! - Featuring Leather Nun (America), and Orchid

Raining.  Wind whipping the scattered leaves into a violent frenzy of attacking dead foliage.  Lightning cracks the sky.

Time to get some doom on.

Leather Nun (America) - All Your Kin

Of all the doom bands that have plodded into the Ripple office over the last four years, Leather Nun (America) have always been one of my favorites.   Plowing the requisite post-Sabbath highway of death, destruction, and hating of the world, Leather Nun just seem to do what they do with an unbridled love and demented passion.  Their riffs are as heavy as a wrecking ball descending upon my cranium, the songwriting is generally as tight as a virgin's chastity belt, and the mood is as dark as the space inside Charles Manson's soul.  In other words, everything you need for a solid doom record.

I'd reviewed their last psycheDoomelic release a year or so ago, but thanks to John Sarnie, All Your Kin, the band's 2007 release found it's way to corrupt our mail carriers hands.  And from the very first explosive seconds of "Overdope" I knew I was in good hands.

Not to be confused with the legendary cult Swedish garage, goth and industrial group, this Leather Nun hails from California, and now uses the America tag in their name; Leather Nun America.  However, All Your Kin was released before they added that tag, so it's attributed to Leather Nun.  Just to clear up any confusion.

One of the main things that makes Leather Nun stand out for me is the intent they put into their music.  Often times Doom becomes a battle to see who can play it the heaviest and slowest, but this trio knows how to flex their muscles and add some stoner groove and some plain ol' rock to the assault.  The result is a doom record in every sense of the word, but with riffs that charge and a backbeat that drives, and a groove that could almost get my ass up to do the doom boogie. You'll hear some Pentagram here, some Saint Vitus, The Obsessed, even some Deliverance-era COC. Wino is worshiped along side Ozzy.

And there is nothing wrong with that, All Your Kin is potent as a Doom-laden nitro stick, and the whole album chugs and stomps and builds and terrorizes like a mastodon set loose in a china shop.  This is doom done right, or a least right in my darkened book.  Having heard two of this trio's albums so far I can say with confidence that Leather Nun is way too good to not be mentioned in the same breath as the "big" boys mentioned above.  Wake up world, it's not too late to get raped by the nun.

Orchid - Capricorn

I know nothing about this album other than it's on The Church Within Records and came to me courtesy of Doom-dealer.de.  That was enough to get me interest.  Church Within Records?  Hadn't heard of them, but damn if that isn't a cool name for a doom label.  Doom-dealer.de I know.  I trust.  I'm interested.

Disc enters player and damn if the most solid Sabbath doom I'd heard in ages comes terrorizing out of the speakers.  Let's set the table right away.  This isn't Sabbath-inspired doom, this IS Sabbath doom.  From the Iommi flourishes at the end of the riffs, to the Butler-flying bass, the Ward-all-over-the-set drumming, and most importantly, the very-Ozzy vocals.  The arrangements are Sabbath.  The guitar tone is Sabbath.  Everything.  There may be another influence somewhere, but  I can't hear it.   In the hands of a lesser band, this would be tossed aside as a Sabbath cover act, but damn if Orchid don't do it well.  And do it without the slightest hint of an apology.

San Franisco's Orchid love Sabbath and they want to play Sabbath, and the results are killer.  Does it matter that this album sounds it could've been snuck somewhere admidst the Sabbath catalog of the first 6 albums?   Nope, not one bit.  That's it's strength.  This isn't building upon Sabbath, it's a reinterpretation of Sabbath, staying dedicated to the original template and having a ball with it.

Songs like the manly strut of the opener "Eyes Behind the Wall" and the drill-into-your-brain earworm title-cut  simply rock.  When they get slower and moodier, they're no less Sabbath, as on the plodding "Black Funeral" with all of it's Iommi-isms.   But none of that matters.  What matters is that from start to finish, Orchid do it right.  Yes, it's Sabbath, but it's fun and the dedication is infectious.  Dig it.

--Racer

Ice Dragon - The Burl, the Earth, the Aether

Ice Dragon’s debut The Burl, The Earth, The Aether has been compared by many to Black Sabbath’s self titled and Electric Wizard’s Dopethrone, and it’s really not hard to see why. Taking many cues from the titans that preceded them, Ice Dragon weaves a solid, dynamic album that is dismally bleak and oppressively heavy, all the while retaining a spaced out atmosphere. The album as a whole flows and progresses really well; the pace is staggered with crescendos and dotted with dynamic changes in both riffs and tone which moves the album along and a lumbering jaunt, and creates additionally heavy vibes with that contrast.

So many of the elements at play here come together to forge and exceptionally gloomy record. The synth sounds on this album are absolutely incredible and stand out without being cheesy or redundant. Rather than riffing along, it is used to provide ambiance and atmosphere, and adds much needed additional depth and texture. Likewise, the low-fi production gives additionally haunting vibes and lends itself greatly to the fuzzed out tone of the guitar.

All of the elements that I love on this album present themselves in full force on the track “Hexagon Riders”, which is featured below. The song immediately accelerates into an insanely catchy and heavy riff, keeping pace throughout the song and building all the way to the end. This song is groovy as hell, and will undoubtedly mesmerize you into headbanging along. Other killer songs include “Spellpouch”, a meandering beast who’s song structure mimics its lyrical content by periodically roaring to life, and “Aquageddon”, a titanic track that sounds as if the entire world were drowning.

In short, if you like Black Sabbath and Electric Wizard you will most certainly like what Ice Dragon has to offer. Good riffs, killer Ozzy-esque vocals, ample fuzz and cool atmosphere will likely keep you coming back for more.

-- Ahab

Mos Generator - Deluxe 10th Anniversary S/T Reissue

It was a dark and stormy night.  Inside an ominous castle situated atop the highest suitable perch in the Black Mountains of California a mad scientist was hard at work.  Frantic hammering along with high speed saws could be plainly heard above the angry growls of thunder.  Occasionally blinding light would burst forth from every window of the castle.  A careful observer would have been able to listen in to snippets of the scientist’s crazy ramblings.

“…take away my diplomas and honors, eh?  I’ll show them!”
“…call me crazy.  Me!?!?  After all that I’ve done…”
“…finish building this, my masterwork.  They’ll all have to believe…”
“…going to revolutionize everyone’s thoughts on the subject…”
“Mwahaha!”

Fast forward three months.  Fall was in full effect.  The 2011 California World Fair was scheduled to begin that very night with an elaborate ceremony that would be televised all over the world.  What no one knew was that the mad scientist Penfold planned to hijack the proceedings with the help of a select few hired hands.  After the sun had gone down and a capacity crowd had gathered in the Fair’s primary outdoor plaza the plan was set in motion.  When the Governor of California paused to take a breath following the first sentence of his welcoming speech, pyrotechnics exploded and the enormous black curtain concealing a large stage at the end of the plaza fell to the ground.  Standing in the center of said stage was a man wearing a startlingly white lab coat.  He raised both his arms, his palms pointed skyward, and began speaking into the microphone in front of him.

“Ladies and gentlemen!  Boys and girls!  Thank you for coming to my grand unveiling!  My name is Penfold.  I apologize if I startled any of you with those loud blasts.  I’m a showman at heart I’m afraid.”

“Now wait just a minute,” screamed the Governor from across the plaza.  “I don’t know who you are or what you think you’re doing here, but you have no idea what kind of trouble you’re…”  The Governor’s voice abruptly ceased after Penfold made a quick ‘cut his mike’ gesture to one of his team members.

“Thank you Governor, but your teleprompter reading services are no longer necessary.  Folks, I don’t wish to waste your time so allow me to cut to the chase.   I’m here today to show you my latest invention.”  He held up a small black box and proceeded to press the circular white button in its middle, raising a small podium beside him on stage to the level of his waist.  On top of the podium was an object covered by an opaque sheet.  “People, I ask you.  What is the number one concern of humanity going forward?  I’ll tell you.  It’s energy!  Clean, sustainable energy!  No one has been able to solve this perplexing riddle…until now.  With my new invention, I can harness the power of rock and roll to generate immense amounts of electricity.   Citizens of California, and everyone watching this around the world, I give you…the Mos Generator!”

Penfold quickly withdrew the sheet covering the object on the podium unveiling what appeared to be an old Victor Victrola machine.  The only noticeable difference was a thick cord running out of its back that disappeared through the floor of the stage.

“Judging by the amused looks on some of your faces, I can see that a demonstration is in order.  I completely concur.”  He reached inside of his lab coat and brought out a vinyl record.  “This is the debut album of the band whose name I borrowed for my invention.”  Penfold pulled the record from the sleeve, placed it on the turntable, and lowered the needle.  The music started.  Moments later countless machines whirred to life behind the stage and a wonderland of lights nearly succeeded in turning the night sky into day.  The crowd collectively gasped and gawked.  The mad scientist smiled so widely it nearly tore his face in half.

“Hahaha!  I guess none of you knew that there was a fully functional amusement park behind this stage.  Take a good look folks.  Everything you see is made possible by my Mos Generator.  I invite you to enjoy yourselves with the amusements on offer.  I assure you, I’ll be available to anyone who has a question for me, scientific or otherwise.”

And with that, Penfold walked confidently off the stage.

Waveriders please excuse me for a moment, because I’m going to break one of my cardinal rules.  If you have read any of my previous reviews you might have noticed that when it comes to language I like to keep my writing G rated.  Well…I’m afraid that I can’t contain myself this time.  Holy ****!  The debut album by Mos Generator is so ******* awesome I can hardly ******* stand it!  This thing is so ******* fantastic, it makes every other hard rock album I’m listening to (and I assure you that includes some very good albums right now) it’s *****!  ***** *****!  ******* ****, why did I not know about this album ten years ago when it first came out?  Palm meet forehead repeatedly.

Right, now that I've purged myself of the need to use coarse language let’s get down to business.  Mos Generator is a power trio out of Port Orchard, Washington.  The three titans of rock who make up the band are Tony Reed on guitar/vocals/keyboards, Shawn Johnson on drums, and Scooter Haslip on bass.  Yes that’s right, I said titans of rock and I meant it.  Mos Generator play rock and roll music.  They play hard rock music, the kind of hard rock that is clearly rooted in the 1970s.  That means their songs are built around tremor inducing guitar riffs coupled with a lock step rhythm section that is both backbone and harmonious support structure.  Yes the obvious go-to reference point is Black Sabbath.  That’s unavoidable but honestly, being a huge Sabbath fan myself, I never find myself listening to Mos Generator thinking boy, that sure sounds like that (fill in the blank) Sabbath song.  On reflection, that is one of the biggest compliments I can give this band.  Despite wearing their influences on their collective sleeve they are clearly their own band sonically.

My first actual exposure to Mos Generator came through a Facebook post made by one of my two bosses, Pope JTE, which allowed me to listen to one song from the debut album.  Waveriders, I played that song at moderate volume and I had to question whether or not I had just lived through an earthquake.  Shortly thereafter I heard the song “Sleeping Your Way To The Middle” and I knew I couldn’t live without a copy of this album any longer.  While I realize that all three band members had been making music with other acts before forming Mos Generator the quality level of this, their first album, is stunning!  Top to bottom it is smack you in the face, forehand and backhand good!  The original album is made up of seven songs that clock in at just over thirty minutes.  I know that may not seem like a lot of time but trust me, you won’t be left wanting.  This album is the very definition of ‘all killer, no filler’.  I guarantee that you’ll be hitting the play button again and again in record time.  Oh, and I suppose I should mention the bonus materials.  Yeah, that’s probably a good idea.

With this deluxe reissue not only do you get the bulletproof original album, you also get about two hours of extra music including unreleased studio demos, a half hour rehearsal jam, and all kinds of live tracks.  And waveriders let me tell you something.  Those live tracks, including one full show that saw limited release under the name Live At The Manette, are awe inspiring.  Yes there is plenty of energy in the studio recorded songs, but live Mos Generator sounds like a runaway train that’s about to derail itself!  I can’t imagine anyone attending one of their shows and remaining seated.  Well…unless they lack a pulse or they happen to be deaf.  Truly, when the band gets going it feels like they are performing a high wire routine with no safety net underneath, and it is intoxicating.  I would happily pay for these ‘bonus tracks’ separately no questions asked.  The amount of musical goodness contained within this reissue is positively absurd!

Let’s put a bow on this shall we?  You may have never heard of Mos Generator, or you may be a fan wanting to complete his or her collection.  The bottom line here is this waveriders.  If you are looking for an ultra-high quality 1970s inspired, ridiculously talented, musically inventive band your search has ended.  You know what, scratch that.  If you call yourself a hard rock fan you absolutely must own this album!  Believe it!

--Penfold

Buy Here- http://ripplemusic.bigcartel.com/product/mos-generator-10th-anniversary-deluxe-edition

Freedom Hawk - Holding On

Wh-what's this I'm hearing? No...it can't be. Has the new recording from Black Sabbath already been leaked?

Oh, wait...this is Freedom Hawk's new album from Small Stone Records. Now I remember - and I love everything about it. I think these guys are dope and they have to be one of the best early-Sabbath-sounding rock bands out there right now, other than the newly-reunited legends, of course. I mean, just play these songs I've included from Freedom Hawk's, Holding On, and I'm pretty sure you'll agree.

First, there's vocalist/guitarist T.R. Morton , whose voice can sound exactly like a young and lively, hand-clapping Ozzy, only more powerful. There hasn't been one other rock singer I can remember who sounds so much like Ozzy to me. He's so spot-on and I think I'm listening the Prince of Darkness himself. Really. And that's not a bad thing at all, at least for me. It doesn't hurt that the riffs flow effortlessly from his fingers, either.

Matt Cave completes Freedom Hawk's twin-guitar assault and, along with his brother, Mark Cave (bass), and Lenny Hines (drums), the members produce such thick, rich, 70's-inspired rock music that you just have to hear it. And own it.

The songs, "Edge of Destiny" (link below) and "Nomad", are two of my favorites and they're prime examples of the strong, solid Sabbath aura that Freedom Hawk invokes throughout Holding On. "Zelda" is a short instrumental near the middle of the 13-track album which reminds me of "Planet Caravan". Bongo drums are the only things missing, if you ask me. "Flat Tire" is another gem, but hell, I think they all are. Believe me, I could go on and on.

From their bio: "Hailing from a beach town in Virginia, this quartet blends heavy riffs, a rolling groove, and soulful guitar melodies to produce the sound that is Freedom Hawk. Their brand of rock coupled with a high energy live show, leaves many wondering if they’ve stepped through a time warp, which has taken them to rock’s heyday in the 70’s."

I didn't listen to 70's hard rock until the 80's, when I was a young teenager. Like many others, I started with bands like Led Zeppelin, Deep Purple, the earliest Judas Priest and....Sabbath. If you're like me and you can't wait until the Black Sabbath reunion album, then Freedom Hawk are just the band to tide you over. Once you listen to Holding On, though, they'll probably become one of your current favorite bands like they did for me.

--Heddbuzz

http://www.freedomhawkband.com/

http://www.reverbnation.com/freedomhawk

Backwoods Payback - Momantha

I'm guessing that you've already heard of this one and you might even own it, but here's a reminder in case you don't. It's another fantastic rock album from Small Stone Records that I've been listening to for months. It's Momantha, by Pennsylvania's Backwoods Payback.

A stoner rock band with doom influences. Heavy-metal. I don't care what you call 'em and they probably don't either. Backwoods Payback are "3 dudes, 1 gal, rocking harder than you." I love the band's confidence and their music even more. Wicked fuzzy guitars and extremely soulful vocals; stout, robust rhythms. These are definitely my kinda tunes, influenced by "whiskey, weed and Black Sabbath." You bet your ass.

I don't know exactly why, but this music reminds me of my old Kentucky home in the Appalachian Mountains. The dusty gravel roads winding through the hollows. Dirty, coal-stained jeans and a t-shirt. One thing's for sure, Momantha is gritty, honest, blue-collar fuzz-rock, and it's a perfect escape after a hard day's work. I've been busting my ass lately so I've been listening to it a lot.

"You Know How This Works" begins with a single lingering, fuzz-filled chord and that's all it takes to know I'm gonna love the guitar sound from Backwoods Payback. When the rest of the band joins in, I'm having no problems forgetting what a bad day I had on the job. Oh, this is definitely the shit, people. "Flight Pony" starts with a quick cymbal burst and an up-tempo beat before settling into a rockin', fuzz-filled groove.

To me, Momantha seems to get even better as it goes along. I think many rock albums can tend to get a little stale in the middle but not this one. "Lord Chesterfield" is the fifth song out of 10 and it's one of my favorites, with plenty of head-bobbing, bluesy guitars. "Parting Words" reminds me of Sabbath the most, probably because of it's massive doom metal sound. And the bass...damn. I think "Velcro" is one tremendous, sluggish fuzz-fest, too, and has some of the best vocals of any song.

"Timegrinder" doesn't waste any time at all, fiercely determined to rock and roll your sorry ass at the beginning and doom it near the end. "Ballad Of A Broken Horse" is a superb finale to Momantha and leaves me caked with fuzz. Now I need a shower.

I told Racer a while back that I was pretty sure I would like anything from Small Stone Records. I've been right on the money so far because Momantha is one more stupendous rock release worth buying. Get yours here http://www.smallstone.com/album115.html.

--Heddbuzz

Mos Generator Showcase Debut Re-Issue Package Live To Packed House

 


November 5th, 2011, Port Orchard, Washington stoner rock legends, Mos Generator, clawed their way to back from the underground to celebrate the release of their ten years of hard rockin’ history! Performing a one-off CD release event at Coog’s Record Store in Port Angeles, WA, Mos Generator scorched through a high energy set jam packed with songs culled from their back catalog, as well a few previews from their upcoming, as-of-yet untitled album set for release in summer of 2012. The highlight of the set, however, was the band’s performance of the recently re-issued debut album in its entirety!

The 10th Anniversary Edition of Mos Generator’s debut album is the first time the album has been pressed on vinyl, and the gatefold package includes a CD with the entire album, a previously unreleased bonus track, and the entire Live at the Manette recordings from 2002. As if that wasn’t enough hard rock for everyone, this deluxe package also includes a download card with exclusive digital material, in all, almost 2 ½ hours of music for a low, low price!

Never one to rest between accomplished goals, Mos Generator mastermind and mad scientist Tony  Reed, is hard at work getting the aforementioned new album recorded in just that perfect way. When asked how this new album compares to past Mos Generator records, Tony stated, “On the surface this new album is lean and straight forward but it is woven with complex lyrical themes and musical emotions. My goal is to retain the Mos sound that we have built over the last ten years with a focus on melody. My lyrics have taken on a more personal outlook as well. Many of them are based themes that most people can relate to.”

For the time being, the 10th Anniversary Edition of the debut will be available in all record stores throughout the UK and Europe on Nov. 21st, and is available now at the Ripple Music Store.

Here’s what the press has to say:

“Listening back to this album I am struck at how fresh this stuff still sounds. The trade mark sound of Grand Funk and Blue Cheer influenced old school hard rock fused with the Seattle grunge sound of the 1990's makes for a very ear friendly vibe. All in all this is great stuff and this reissue belongs in everyone's collection if you have the original versions or not. 4/5"  -  The BCFM Sunday Rockshow

"The songs from the original album are amazing enough on their own. Yes, I could just say these tracks are high caliber groove-laden, 70's inspired stoner rock and all that would be true. However that only scrapes the surface for how good this band really is/was even at this early stage of their career. Mos Generator live are perhaps even more spot on with hitting everything in fine fashion and just channeling their natural smoothness in this performance.”  --  Heavy Metal Time Machine

RIPPLE MUSIC STORE

Also available at CDBaby, Amazon.com, Ebay, and All That Is Heavy.com

Confused Little Girl - Southern Gentlemen

Skeeters are snackin'. They're as big as half-dollars and they'll bleed you dry if you let 'em. The gators are patiently waiting. Some are stalkin' their prey. Shine a light and you can see the battalion of reptile eyes, like fallen stars strewn across the water's surface. Yes, we're in the icky Florida swamp, where it's scary-dark and it's nasty. I lived there once, and it's also where Confused Little Girl  and Southern Gentlemen rose from the filthy muck.

I told Racer that I've been listening to the independent release of this album for almost a year but I clearly wasn't the only one. Rotten Records took notice and signed the Orlando-based group, turning out Southern Gentlemen internationally on Oct. 11. They brought an exceptional and original rock band on board, in my opinion. Here's some information from their bio for those who haven't heard about Confused Little Girl yet.

"Confused Little Girl are a four-piece, deep-fried, southern swamp-rock band from Orlando, Florida. Their songs are filled with themes of drinking whiskey, murdering people and burying them in the bellies of alligators, pigs and the bottom of the water in the Everglades, and of course, selling your soul to Satan. The music that accompanies this subject matter is filled with loud guitars; heavy, groove-based big drums and enough fat-bottom for even Freddie Mercury to be disgusted. Since 2005, these beloved bastards of rock have been working tirelessly to shove their brand of heavy rock and roll down the throats of as many people as humanly possible."

Influences include: AC/DC, ZZ Top, Black Sabbath, Down, C.O.C., Clutch, and Queens of the Stone Age. What more do you need to know? Want details? Too bad. I don't know much else about Confused Little Girl, aside from the fact that Billy Van Muddlestein, David Washburn, Red Reilly and Josh Henry like booze, bitches and barbecue. Hell, who doesn't?

"We come from the Swamp," Confused Little Girl says. "We play rock-and-roll music. Loud, angry, drunken rock-and-roll. Being from Florida, where tons of southern rock bands came from, we have southern music in our hearts. The details about how we met and who we've played with and all of that bullshit isn't important. It's music, you listen to it. So listen to it. "

I have listened to Southern Gentlemen - many times. Too many to count. I'm listening again right now and I'll tell you something: it never gets old. Like I said before, I've been playing this release since the beginning of the year and I'm not stopping now. I won't bother with trying to describe every song because it's all good. The guitars are southern-scuzzy; the vocals are hefty and raunchy, but they're definitely still clear enough for me. The bass and drums are just monstrous. It's everything I love about swamp rock. No wonder I can't get enough.

Oh. And the song titles. Don't get me started on that. "I'd Rather Booby Screw A Walrus" is a favorite, along with "Honestly, Who Gives Their Genitals Pet Names". "Hookers on Horseback", "(Hey Dad) Stop Looking at Porn on My Computer", "Jordan Catalano Needs to Break Up His Shitty Band" and "How Satan Stole My Heart". C'mon. Aren't those some of the most interesting song names you've ever heard? Just reading those names makes you want to listen, doesn't it? Go ahead. You'll be happy you did.

The sick, 12-song Southern Gentlemen was sort of an obscure title earlier this year. Well not any more. I'm glad to see Confused Little Girl get signed by Rotten Records. Now the world has a better chance to hear the swamp-rock I've been trudging through for months. Head to the Rotten Records site for this record and get your copy NOW.

Hail the swamp!

--Heddbuzz


http://store.rottenrecords.com/confused-little-girl-southern-gentlemen.html
http://www.bastardsofrock.com/
http://www.reverbnation.com/confusedlittlegirl

BLACK SABBATH: Official Reunion News with Press Conference Video Highlights

The original lineup of the legendary heavy metal band BLACK SABBATH announced on Friday (November 11) that it was reuniting for its first new album in 33 years and a 2012 world tour.

Singer Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward revealed during a press conference at legendary Sunset Strip club Whisky a Go Go they were working on new material for the album which will be made available Vertigo/Universal Republic in the U.S. and Vertigo in all other territories. There is no title as yet but it will be produced by Rick Rubin, who has previously worked with METALLICA, SLIPKNOT, SLAYER and SYSTEM OF A DOWN, among many others. The band hopes to begin recording the CD in January for a fall 2012 release. A world tour will follow, including an appearance at the U.K.'s Download festival on June 10, 2012.

"It's now or never. We are getting along great. Everything's really good," Iommi said.

"It's like putting on an old glove. It's fantastic," he added.

The band credited Rubin's persistence for helping get them back in the studio. "He phoned us every five minutes," Iommi joked.

"It was the obvious choice," explained Osbourne of Rubin as producer. "I've known Rick for many years."

"It was time," said Osbourne of the reunion. "The timing was right."

Osbourne went on to reveal that they've written "seven or eight" new songs for the album, which they plan to release at the end of next year.

Butler added that the new songs are "back to the old SABBATH style and sound. The stuff that Tony's been playing is absolutely brilliant."

Rubin, who was also present at the event, said: "We've been working on developing material and we're halfway into the writing process. It's inspiring hearing what's coming out."

A two-minute video clip featuring highlights from the press conference has been posted on the newly launched official BLACK SABBATH You Tube channel and can be seen below.

The Ozzy-fronted lineup of SABBATH hasn't toured since 2005 and last appeared together when they were inducted into the Rock And Roll Hall Of Fame in 2006. They attempted to cut a new album — their first since 1978's "Never Say Die!" — with Rick Rubin in 1999, but the sessions fell apart after just a couple of songs and Osbourne turned his attention to his solo career. The Ronnie James Dio lineup reunited under the moniker HEAVEN & HELL in 2006 but split four years later, after Dio passed away.

Grifter - S/T

If Grifter didn’t exist I would have had to make them up. Three hairy, over the hill guys from Plymouth, England playing no frills heavy rock and living in a 1974 time warp will always be something I will encourage. Since 2003, Grifter has been kicking ass and putting out EP’s but now it’s full length album time and it’s on Ripple’s home grown label. How cool is that? Pretty fuckin cool if you ask me since Grifter rock hard and the Ripple guys are experts at recognizing the real deal. A match made in rehab, for sure.

If you’re into Humble Pie, Cactus and Foghat then you’ll like Grifter. There are probably some “modern” influences like Clutch and Fu Manchu in there, but they are overpowered by the original boogie. “Good Day For Bad News” is a powerhouse opening jam complete with a nice Johnny Winter-ish slide guitar solo. It’s followed up by “Alabama Hotpocket,” which is easily the best song title of the year if not the century. (Look it up, have a bucket nearby to hurl into). The chorus on this one is so catchy that it should be sung at sporting events.

If “Alabama Hotpocket” offends you, then chances are that songs like “Asshole Parade,” “Piss and Gas” and “Strip Club” will really get you upset. Sure, potty mouth lyrics and four letter words show a limited vocabulary but that’s society’s problem, not mine. When the riffs are this tough you can’t sing about lame crap like feelings or, even worse, politics. Some of the toughest riffs are on “Young Blood, Old Veins,” a total Black Sabbath stomper that wouldn’t sound out of place on the underrated Sabotage album. “Bucktooth Woman” and “Preacher And The Devil” were probably written after being bombarded with Blackfoot tapes in the van when they toured with Sun Gods In Exile. And I think I detect some Zep on “Bean” and “Unwelcome Guest.” The album wraps up with the nice acoustic “Gone Blues.”

Production on the album is top notch and all of the songs would sound great on the radio if the classic rock stations would take a break from brainwashing us with yet another Elton John weeper. Ollie’s guitar sound is killer, pure Charvel plugged into a solid state Peavey combo amp (just kidding!). Ollie’s a Les Paul/Marshall/Guinness kind of a player and the rhythm section of Foz (drums) and Phil (bass) are very tight and in the pocket at all times. Ollie’s vocals remind me at times of both Peter Frampton and Greg Ridley from their Humble Pie days. Hopefully next summer Grifter will get to headline Plymouth Jam II with Federale and Stone Axe at the Argyle Football Club stadium.

--Woody

Buy from these jerks
http://ripple-music.com/?page=store&url=http://ripplemusic.bigcartel.com/products

http://www.grifterrock.co.uk/

http://www.facebook.com/GRIFTERROCK

Pentagram – Last Rites

Crack is a helluva drug. Pentagram mainman Bobby Liebling was hooked on the stuff for a long, long time and saw many bands he’s influenced crawl past him in the doom metal sweepstakes. After decades years of fluctuating line ups, shady record deals and spotty releases he seems to have gotten himself straightened out and is back with a good new album, Last Rites on Metal Blade Records. I was on the fence about picking this up but knowing that long suffering guitarist Victor Griffin had rejoined Pentagram again was a big selling point.

Right off the bat, Pentagram comes out swinging hard on opening song “Treat Me Right.” For a band considered one of the pioneers of doom metal they throw down a Motorhead worthy scorcher. Victor’s tone is hella-huge as he fires up a killer speedy riff and the band kicks in. Bobby’s voice sounds stronger than it has in a long time and you can just see his Marty Feldman bug eyes popping as he spits out the lyrics. We’re off to a good start!

“Call The Man” returns to more familiar doomy Pentagram material and lets the stomping rhythm section of Greg Turley (bass) and Tim Tomaselli (drums) shine on this one. Tim and Greg have done time in Victor’s band Place Of Skulls and it’s obvious those 3 have a great musical rapport. The proof is in the groove. “8” starts off moody and tribal before shifting gears into a psychedelic headbanger. Hopefully they have some strobe lights and fog machines when they play this one live. Victor takes lead vocals on “American Dream” and unsurprisingly it sounds a lot like a Place Of Skulls song. The only song I’m not in love with on the album is “Windmills and Chimes.” For some reason when they go into the chorus “Baby I Love Your Way” pops into my head. It doesn’t really sound like the Frampton song but it bothers me enough that I have to skip past it every time.

Pentagram has a huge backlog of songs that were written throughout the 1970’s and Bobby usually revisits a few on each album. “Everything’s Turning To Night” and “Walk In The Blue Light” are on the First Daze collections that Relapse has put out. The arrangements are a little different and the fidelity is much improved on the originals. “Into The Ground” and “Nothing Left” go back to Bobby’s pre-Pentagram band Stone Bunny. I’ve never heard the originals of either of these but they’re both heavy doom mongers. “Into The Ground” has a 70’s Judas Priest feel with some nice Glenn Tipton melodic lead playing.

Last Rites is a solid metal album and hopefully Bobby will stay away from the pipe so he can keep his kick ass band. Even better news is that Pentagram will be touring and the Bobby Liebling documentary (also titled Last Rites) will be released later this year.

-- Woody

Buy here: Last Rites
Buy here mp3: Last Rites

http://www.metalblade.com/pentagram/

Ghost - Opus Eponymous

These days you gotta have a gimmick. And Ghost, a new band from Sweden, has a lot of them. They wear robes, pope hats and face paint (even the drummer when they play live). Their lyrics are Satanic but sound like they picked up most of their occult knowledge from King Diamond interviews. There are rumors that under the costumes there are well known musicians from other metal bands. They’ve also received negative attention because there’s already a long-running Japanese band with the same band name. All of this has resulted in strong opinions in the metal world about this band. Some say it’s all hype, others say Ghost are the best new band in years. Like most cases where opinions are so polarized there’s a bit of truth on both sides.

Whoever is in the band or not, Ghost’s debut album Opus Eponymous is a nice change of pace in the heavy music world. Most underground bands are either working the doom Black Sabbath angle or are part of the speed/thrash/grind brigade. Ghost’s sound is about 60% Blue Oyster Cult (especially Agents Of Fortune), 20% Mercyful Fate and 20% other ingredients (mainly 70’s Priest/Scorps/UFO and Angelwitch).

The funeral organ instrumental “Deus Culpa” starts the album off on a somber tone before being taken over by the fast “Con Clavi Con Dio.” The verses are fast and sinister but the chorus is very melodic and would probably get some commercial radio play if it wasn’t praising Lucifer. The single “Ritual” really sounds like if BOC time traveled from 1976 to 1984 to steal some riffs from Mercyful Fate’s “A Dangerous Meeting” to use in “Don’t Fear The Reaper.”

“Elizabeth” is full on Mercyful Fate “Melissa” worship, down to the Herman Rarebell/Les Binks metal oompah beat. The vocalist (no names credited in the liner notes) bears a resemblance to Buck Dharma and occasionally drifts into Queen Rhinestone territory but doesn’t resort to screeching for vengeance. The presence of keyboards add some nice texture and are rarely overbearing. The guitars sound like they might even be in standard tuning and have crunch but not full on metal distortion. “Stand By Him” is another strongly BOC influenced moody song with a Thin Lizzy-ish guitar solo (“Thunder and Lighning?”) in the middle.

“Prime Mover” has some nice bass fills and good Stained Class style chugga-chugga riffs. Album closing “Genesis” brings the keyboards to the front and sounds more like The Alan Parsons Project than Genesis and has an acoustic guitar interlude. Back in the 70’s rock radio stations used to love songs like these as background music while reading the local concert calendar. Get your local paper and try it out yourself.

Despite the hype I really like this album. The Satanic lyrics and costumes are a little corny but the music is solid.


--Woody


Buy here: Opus Eponymous



www.myspace.com/thebandghost

 

Ripple News - Tommy Iommi, Ian Gillan and Friends - Who Cares Benefit single to be released

Ok Sabbath fans! Just got the previews of the WHO CARES benefit from Ian Gillan & Tony Iommi for the rebuilding of a music school in Gyumri, Armenia. The digital 2 song/single comes out next week. Here's a sneak peak. If you like this sort of up-to-the minute music news, friend us over at the Ripple Effect. You've been forewarned!

WHO CARES — the renewed musical union between legendary DEEP PURPLE singer Ian Gillan and none other than BLACK SABBATH's Tony Iommi: the undisputed master of heavy guitar riffs — will release its debut digital single will be release May 6th via Eagle Rock Entertainment. The physical cd/dvd single will be made available in Europe on May 24 through earMUSIC and June 27th in North America via Eagle Rock Entertainment.

The single features two brand new studio tracks "Out Of My Mind" and "Holy Water", which will raise funds for the rebuilding of a music school in Gyumri, Armenia. The 2 Song - CD single will also contain the video clip of "Out Of My Mind" and a 40-minute documentary that shows Gillan's and Iommi's involvement with the Armenia cause over the years.

The collaboration of Gillan and Iommi, who have worked together before on the SABBATH album "Born Again", is in itself an incredible news for all rock and metal fans and will be the best of surprises to get to know who is completing the band: None other than Jon Lord ("Mr. Hammond", partner with Gillan on all the DEEP PURPLE classics), IRON MAIDEN drummer Nicko McBrain, ex-METALLICA bassist Jason Newsted and HIM guitarist player Mikko "Linde" Lindström are also featured on the two new songs.

Groan – The Sleeping Wizard

This is what happens when unsupervised youth is allowed to fester in a basement of cheap beer, dirt weed and Cathedral tapes. Groan are a 4 piece doom metal outfit with members spread out across the UK but close enough to Stonehenge absorb some of its triptych wicked powers. The Sleeping Wizard is their debut. 7 songs in 26 minutes makes it either a short album or a long EP, take your pick.

Musically, Groan is in the tradition of Black Sabbath influenced bands like Candlemass, Electric Wizard, etc but include a bit more Hawkwind than usual and some straight up classic rock, too. They also have great stage names. Thor’s Hammer pounds the drums, The Riff Wizard is obviously the guitarist, Mazzareth is the singer and the bassist is The Forest-Dwelling Fuzz Creature. The production is low budget, but suits the band well. The songs are bashed out with gusto and Mazzareth’s vocals are swathed in a “Planet Caravan” gauze for an outer space effect. I was hoping he would yell “take me to your leader” in one song, but there’s always next time.

All 7 songs are very solid doom metal jams, but “Witchy Woman” is probably my favorite. Sounds like someone replaced Master of Reality on the stereo with Burn and it opened a new avenue for these guys. David Coverdale wishes he wrote “she rides the Pegasus, she makes the priest forget about Jesus” on his new album. Other highlights are the anti-work “Psychedelic Demons” and the rampaging “Sleeping Wizard.” “Ride Of The Antichrist” sounds like something Raven might have come up with in 1981 after a heavy dose of cough syrup. Most of the songs are pretty fast, but album closer “Ancient Space (Master Of Time)” moves at a Sleep-y snails pace.

If doom is your bag, then give these kids some support. Just think of the jams they’ll come up with if they can get better quality weeeeed. Get in on the ground floor and Groan.

--Woody

Buy here: Sleeping Wizard

http://www.myspace.com/groanuk

Ripple News - GEEZER BUTLER STATEMENT ON RUMORS OF BLACK SABBATH REUNION

In today at the Ripple office, some news for all Sabbath fans.

Responding to ongoing rumors surrounding a possible Black Sabbath reunion, Geezer Butler has issued the following statement:

"I would like to make it clear, because of mounting speculation and rumours, that there will be definitely no reunion of all four original members of Black Sabbath, whether to record an album or to tour."

Butler's most recent musical outing was with Heaven & Hell, a four piece featuring Black Sabbath band mate Tony Iommi as well as one time Black Sabbath members Ronnie James Dio and Vinny Appice.  The band released Neon Nights: 30 Years of Heaven & Hell in November of 2010.

www.geezerbutler.com

Electric Wizard – Black Masses

There are many (too many, in fact) doom metal bands out there but I will always make time for Electric Wizard. Black Masses is the Dorset, England band’s 7th album and is pretty much business as usual but there are a few different audio elements to keep things from getting too redundant. The Black Sabbath/Pentagram foundation remains as well as NWOBHM creeps like Venom and Witchfinder General but there’s a stronger psychedelic feel than on some of their previous records. It also sounds a bit like the influence of fuzz-guitar maestro Davie Allan is in the mix, too. Not surprising since Electric Wizard love all the violent 60’s biker movies that Allan did music for just as much as the horror/cult films they sometimes sample.

The twin axe attack of singer Justin Oborn and wife Elizabeth Buckingham is very thick, fuzzed out and layered with trippy effects. Justin’s vocals pop in and out of the mix to bleat his bleak views and call upon Satan to help him navigate this wicked world. Shaun Rutter’s drums plod and thud accordingly in a most Master Of Reality way and blend well with new “necrobassist” Tas Danazoglou. It’s worth noting that Tas has some really intimidating facial tattoos.

For a band so heavy and negative, the songs are surprisingly catchy. “Black Mass” will have everyone yelling “hear me Lucifer” loud and strong at the live show. “Venus In Furs” is not a cover of the Velvet Underground classic (although I’d like to hear them tackle it) but does share the S&M subject matter. Clocking in at 8 minutes, my favorite song might be “The Nightchild” just because of the strong Witchfinder General feel.

The entire album is solid and flows together really well. The tempos are never too fast, and they really excel at the real snail crawlers like “Satyr IX.” There’s even an instrumental dirge called “Crypt Of Drugula” with some very cool atmospherics that’s cooler than anything Eno’s ever done. This is a great one to play late at night in a car full of people you don’t know very well. They’d really freak! Unless they’re already freaks, then they’d love it.

-- Woody

Buy here: Black Masses
Buy vinyl: Black Masses

Buy from All that is Heavy here

http://www.myspace.com/electricwizarddorsetdoom

Black Sun - Twilight of the Gods

Have you ever taken a punch? Not the kind of punch in the shoulder you might get from your wife after making an inappropriate comment about her sister’s boobs, I mean a full on haymaker to the temple that sends a shooting pain through your head and literally forces you to see a flash of light!!! When this latest offering from Black Sun kicks in with the opening bars of “Code Black” it is the musical equivalent of that one punch. There’s no messing around with intros, scene setting or any of that bullshit. This kicks straight into a monster verse with a demolition ball of a riff and a full blooded obnoxious roaring vocal. From this point on there is no let up, Black Sun are out for blood and you can either give it up willingly or they will take it by force…and to be honest, even if you’re prepared to give it up willingly they’ll still take it by force!!!

Pigeonholing Black Sun is a thankless task. They fall loosely into the doom field but this isn’t the patchouli and flare wearing doom of Cathedral with a copy of Masters of Reality in one hand and a spliff in the other. Instead this is a nasty, dead eyed doom with a blackened crust, a bottle of PCP in one hand and a rusty blade in the other. From start to finish Black Sun fill every available space with monstrous huge riffs that range from a Melvins like dissonance to a St Vitus style pummel. “Crawling Saviour” comes across like early Cathedral being fisted by Satan himself as the dual vocal attack spreads from a belligerent bellow to a throat shredding shriek that has more than one foot in the black metal camp. “Terminal Velocity” however does manage to temper the barrage of grime with some subtle beauty that is vaguely choral and transcendental. Black Sun seem to understand that pure filth is more effective when you can see the occasional clean spot in the mire. “Gethsemane” raises its hands to Heaven with near religious fervour as the riffs spit and twist around a might central vocal figure whereas “Tabula Rasa” jerks spasmodically like the last dying twitches of a man beaten into final and fatal submission. The undercurrent of insanity never seems far away from the Black Sun sound…like an inmate finger painting with his own feces in a padded cell whilst listening to Slayer jamming with Voivod on 33 and a 3rd!!!!

Black Sun also know how to vary the levels of intensity. “Transcending the Mire” shows a level of restraint not seen so far in its psychedelic guitar drawl but the repeated vocal refrain of “Can’t take anymore” still seems to belch from the darkest corners of a tortured mind. At times listening to Black Sun is an emotionally harrowing experience that threatens to build pressure behind your eyes and make them bleed. Very few bands seem to attain this level of sheer intensity. Many try but invariably come across sounding like a cartoon version of pain and anger…maybe coming from Glasgow has certain benefits for tormented artists.

By contrast “Black Angel” seems almost perky…if it can be considered perky to have your balls kicked repeatedly by steel toe-capped boots. “The Soldier’s Prayer” also seems reasonably upbeat and approaches something similar to a groove but slits its own throat by delving back into Black Sun’s trick bag of psychotic doom to play out the song. Just as you think you’re beginning to get some sort of handle on the Black Sun sound they unleash “Baby Don’t Cry”. Here they pull Oxbow’s Eugene Robinson from his mother’s breast and throw him screaming, clad only in a soiled nappy to the middle of an empty room to vent whatever vile demons are plaguing his fevered mind. In many ways this is the standout track on the album. Not because of the musical content, which compared to the rest of the songs on offer is fairly weak; a collection of meandering discordant doom laden chords, rather it is Robinson’s schizophrenic delivery which ranges from a childlike cry to a full roar. “Because the hurt does not care” he shouts in the ultimate nihilistic statement of despair…there is no escape from pain. This is the sound of a man going through some major psychological cold turkey…utterly compelling but bordering on unlistenable in a voyeuristic kind of way, should we really be standing by and watching this happen?

Thank fuck then for “Warhead”, a pretty straight up belter of a song that rides on a kicking riff and a four to the floor rhythm. Not that this is a straight up rock and roll song by any means…no siree, Black Sun don’t play such games!!! This is still an abrasive slice of caustic rifferama and won’t see them breaking through to the mainstream any time soon!!! By this point we have one last test of musical endurance to go. The title track starts with a cleaner passage that is reminiscent of some the Amebix’s more delicate moments before delving into the pit of despair once more and delivering us to the land of the mighty riff to close the album in style.

Comparisons are far from easy. There is an air of Amebix throughout in the despairing nihilistic overtones, a touch of Melvins in the sheers down tuned heaviness, a little Voivod in the dissonant, jarring riffs, obviously a touch of Sabbath (isn’t there always?) in the fractured and changeable structures and maybe even a little early 90’s Quicksand meets Helmet for good measure...if they were black metal bands!!! It’s not an easy listen and the vocals may be an acquired taste for some but there is no denying that Black Sun have created an album full of brutal, monolithic power and painful emotional depth. Sometimes music needn’t be about beer and chicks, sometimes it’s a catharsis and not many albums succeed in purging the soul like this one. For a first release Head Of Crom Records have landed firmly on their feet here. Seek this out then play loud and scare your neighbours!!!


--Ollie

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