Imaginary Cities – Temporary Resident

Gotta admit, I approached this one with a fair amount of trepidation.

Electro-indy pop ain’t really my thing.  That’s usually the playground of our valiant Koala and just about every bone in my not-wanting-to-be-turned-into-fey-mush body aimed to get this disc down to Australia and into her arms.

But it didn’t happen.  I’d already sent her a ton of music, and since she’s still a new scribe with us here at the Ripple, I didn’t want to inundate her more music than necessary and frighten her running and screaming away from the Ripple office.  Yes, that’s right; I can be merciful with our writers . . . at least at first.  Just call me Racer the merciful.

So, seeing that Koala’s docket was full, Temporary Resident fell to my pile.  Trepidation grew.  Antipathy followed closely behind.  I didn’t want something precious or cute.  I didn’t want a bunch of processed beats, lap-top music.  Just wasn’t in the mood.  Not my thing.  Seeing that Imaginary Cities was composed of only two musicians – multi-instrumentalist Rusty Matyas and singer Marti Sarbit – and my trepidation turned to full-on consternation.  I’d been flooded recently with a swarm of one-dimensional, near-anonymous, always grating, two-member indy rock.  I was looking forward to this about as eagerly as an annual enema.  And a sandpaper prep. 

Then I quit my mental bitching and put the disc in. 

Temporary Resident is an amazing album and Imaginary Cities are an amazing band.

Hailing from Winnipeg, signed at NXNW after only being together for a year, and already locking in the support slot for the 2011 Pixies tour, there’s just no doubt about it; Imaginary Cities are a band on the rise.  And from what magic unfolded before me on Temporary Resident, the sky just ain’t high enough for them to ride.

Unlike a lot of indy bands of this ilk, Imaginary Cities aren’t afraid to mix things up.  Jazzy textures, downtempo beats, heavier guitars, faded urban blues, even some bossa nova latin flirting, it’s all here and it’s all done with more passion than I’d ever expect from a two-piece.  And soul.  Tons of soul.

After all that hesitation, it actually only took Imaginary Cities 1 second of the opening song “Say You,” to capture my attention and hold it fast in their accomplished four-handed grip.  Like Bigfoot finally locked in a snare, they had me.  Riding the mother of all downtempo grooves, “Say You,” is so far up my alley that you can find my home and office sharing their zip code.  A killer organic bass locks in tight with that after-hours beat and makes my head soar off in a sea of groove.  Rusty knows how to compose a song, laying down just the instruments necessary to give the beat flesh and bone.  Never overwhelming the vocals or doing handstands for the sake of showing off.  Spartan and bass thick, my head is still bobbing just thinking about it.  Like some of the best of Babyfox or similar to one of my favorites Si*Se.  Pulsing and sexy and just flat out groovy.  I can never, and will never get tired of this one.

Which brings us to Marti’s vocals.  When I said I was captured after 1 second of this song, it wasn’t from the bass.  It was Marti.  With a natural languid flow to her delivery and a breathy innocence to her coy voice, Marti is a revelation.  She’s about as organic and unforced a singer as I’d ever heard in ages and her coquettish tone reminds me distinctly of one of the most brilliant singers of all time; Billie Holiday.  Imagine that demure voice, full of breath and pause, gracing some truly beautiful indy rock compositions instead of the old jazz standards and you’ll get Marti Sarbit.   Her tone and phrasing are simply engaging.  A touch of Edie Brickell.  A smattering of Erykah Badu.  Childish and unfalteringly sexy.  Captivating. A voice to fall in love with.

Then, just when I’d fallen for the easy downtempo of “Say You,” Imaginary Cities went ahead and mixed things up on me.  “Hummingbird” is pure accelerated, strummed indy pop. At first, I hesitated again.  I wanted more of “Say You.”  I wanted a whole album of that.  But Imaginary Cities are far too full of wanderlust to stick to one vibe.  I suppose the long Winnipeg winters make the heart amble, the imagination take off (hence the band name) and the soul stir, and Rusty and Marti take off to follow their muse.  Fortunately, the results make it all worthwhile, and once I let go of my wants and jumped aboard the Imaginary Cities train, it all just came together for me.   “Hummingbird” is immediate indy pop, hooky and melodic, and even with the increased instrumentation, the song still has a comfortable, organic feel.  As if Rusty and Marti invited me into their living room during the dead of winter to hang with them.  Light a candle.  Play some music.  Wait for the winter to pass.

And in many ways, that’s the biggest compliment I can give the album.  Whether on the wary “Calm Before the Storm,” the pulsating electropop bopping of “ Don’t Cry,”  the languid blues-inflected acoustic ditty “Ride this Out” or the angelic “Where’d All the Living Go,” Temporary Resident is always intimate. Comfortable.  Never forced.  Simply as organic, melodic, and as engaging as any album I’d heard this year.

Snob Music has hailed Temporary Resident as “the first great debut album of 2011.”  I’m not one to argue.


--Racer

Buy here mp3: Temporary resident
Buy here: Temporary Resident

See Green- Ultramarine

“Are you happy now? Are you happy now?” Well, if you aren't you will be after listening to Ultramarine, See Green's debut EP.

See Green is actually the stage name for L.A's Courtenay Green and Ultramarine is her shamelessly sugar pop album.

The moment you hit play you know that it is going to be fun, pop and catchy. This made me a little hesitant about reviewing it, because pop music does get that repetitive, sounds- like- every- other- pop- song- on- the- planet sound but I am glad I stuck with the EP and listened to the whole thing because it doesn't feel like that at all. Yes, it is catchy, sounds like it should be played at a teenagers drunken party but See Green is really fresh and doesn't fall into the monotonous stack of pop that is discarded two weeks later. I think it is the best pop I heave heard in quite a while.

Opening with “Are You Happy” it sets the bar pretty low for the rest of the EP. It is the weakest of the four songs but is full of jollity and catchy lyrics and music. Not a bad song, just the weakest link.

“The Neighborhood” is easily twice as good as “Are You Happy,” it is more synthesized, has stronger lyrics and is just cooler.
“You build your fortresses
Your walls are creaking
Did you close the window shades?
Are your children sleeping?
You think its over
But its not going to go away”
It seems she has decided to put the weakest song first so that every song afterwards is twice as good as the last.

“Closer” is my favourite on Ultramarine because it fits into my expectations better and is a little heavier on the music side, almost stretching itself into pop rock. It starts with guitar and then moves onto synthesized tunes and a good drum beat. The lyrics are more punchy with more attitude. In short, what you want from decent pop music.
“You walk in and walk out
And everything you pick up
You put down
Never made a wrong move
Until now
Isn't that unusual
So your talking, okay
You think you are in control no way”

“I Meant It” is just as good as “Closer” musically. The punchy melody and boppity beat is infectious.
“When I said I would
I meant it
When I had the time
I spent it
You can make yourself
Believe it
But you will never know
Until you see it”


Ultramarine is strong vocally, in tune, in time with the music and it just fits. See Green is certainly something to watch, I can see this getting signed because of its great pop sounds but fresh take on the genre. It is also a cool artist/EP name to say together because of the rhyming scheme. Give it a listen and tell me what you think.

--Koala

Buy here: Ultramarine

Cynics- Stones I've Thrown

Have you noticed how portable technology has really revolutionised the world? It is so easy,  portable and convenient, unfortunately it can make you want to hurt someone. Picture this- you have just been given a brilliant album with acoustic sounds you are pretty sure you could mimic them, so you reach for your guitar. Only to remember that you are in the library because your internet is down. It's not my laptop's fault but the rage I felt...

Stones I've Thrown was the Cynics previous release and in preparation for the release of the full length Don't Need Much it has hit my playlist and I am thankful for it! It is like a faster paced, ten times more fun version of No, Really.

One, Two, Three, Four! And we kick off with “14 Coleman St.” This sets you up for the upbeat, mood lifting music that follows. With beautiful acoustics and great vocals, it is off to a great start.

My biggest regret in life is not being born ten years ago when there was brilliant music and so much happening. The Cynics seem to agree with me! “You're Alright” is the definitely a highlight on Stones I've Thrown and seems to be sung directly to me-

“Write a list of your favourite chords, I know you love you love writing lists”

“Its better to be alone, than miss someone,
But not if you know what your missing”

For those of you who are curious, my favourite chords are
1.    G maj
2.    C maj
3.    B6
4.    B aug
5.    E min
(Feel free to tell me yours)

“Be Excellent To Each Other” continues the catchy lyrics and instrumental talent that Stones I've Thrown is showcasing.

“If our buses stop at the same time, would you stand up and wave?”

“Memorial Day” wraps it up and so warmly. You really got to love the upbeat, acoustic sounds that send vibrations through your ears.

Now, I will link you up!

You can see/hear a song from the soon to be release “Cider For Breakfast” performed here-
http://www.bigcheesemagazine.com/features/article/exclusive-cynics-cider-for-breakfast
And...
Download their music here-
http://ihatecynics.tumblr.com/releases

No need to thank me.

-Koala

Eldridge Rodriguez- You Are Released

So, I know this guy. His name is Joe. He is pretty damn awesome. He is attractive, smart and funny but there is one thing that really REALLY annoys me about him- he knows music. This guy lives for it. Breathes it. I swear he eats sheet music for breakfast. That is not the issue though. The issue is he seems to know every band that has ever existed and when I don't know the band he knows, can't play at least three of their songs, can't recite every lyric of their third song on their second EP it is met with a very loud, very long groan. A groan of disgust. A groan that tells me I am a disappointment, will never measure up and I am just not “cool.” This is frustrating for me because music has become an area of exploration for me. I don't know what I really like, I seem to like everything and there is so much music out there for me to discover it seems endless. So, I seek revenge. I seek revenge on the large scale, and Ripple along with Eldridge Rodriguez is helping me do that... Time to launch my first attack...

First step, find out about the artist. Eldridge Rodriguez is the front man of The Beatings and You Are Released is a solo outing from the bands reported legendary sounds of 

Second step, fall in love with the music... This step was the easiest. You Are Released is creative. It has.. zing. It is electric and acoustic and the vocals are surprising at first, then comforting as the album progresses. It is quite a dark sound, perfectly appropriate for a revenge mission. Let me walk you through my favourites on the album...

I personally feel that the first song on the album tells you exactly what you have signed yourself up for, what each of the creative works that follow will explore deeper. “The Big Windup” has a heavy sound, is sort of blurry for your ears but is still so nice too... Hard to describe.

A few songs later came the anthem for my revenge mission“The Shame Of The Scene”. Well played Rodriguez. You are really helping me out here!

“Some day,
I will be playing it smart,
Some day,
I will be stealing your heart”


“Run MF Run” is my favourite song. Yes, “The Shame Of The Scene” is the anthem but this song is more fun! In a dark, dreary sort of way.  It starts off with a catchy sound that drags you into its depths, it is heavy and has really great moments when there are big loud parts. It is a song that you can sing along loudly to when you are in a dark mood or driving. (Am I allowed to swear in this? It is a direct quote.. If not, you will see Racer editing out the naughty words.)

“You gotta run mother fucker run,
You gotta run mother fucker run...
...I can't get done what I need to get done
I cant have fun when I need to have fun”


Not that there is much of a difference between my dark moods and how I drive...

“Miss Me When I Am Gone” is the song that I was first introduced to Eldridge Rodriguez and that was what made me first like him. It is also the second last song on You Are Released. It is awesome with its acoustic clean sounds and dark lyrics,

“You're gonna miss me when I'm gone,
You're gonna miss me when I'm gone,
Like a face that needs a fist,
Like a razor needs a wrist,
You're gonna need my when I'm gone”

Whats not to love? A dark album, sounds varying from clean to messy, and despite the dreariness it is fun.

Third step, launch attack... (Fades to black with evil laughing..)


- Koala


Buy here mp3: You Are Released [Explicit]

Matt Lowell- Swan Lake EP

In music, there are the good artists who are creative and make great music that people can really enjoy.

Then there are the brilliant artists who are amazing, talented and people fall in love with. Matt Lowell is brilliant. (Apologies for the propaganda I am about to spew at you)

Swan Lake is a well formed EP by Matt Lowell a New York based artist and he is apparently quite well known. Graduating from Berklee College of Music, releasing other EP's, touring, performing- he has really gotten around.

“Swan Lake” opens this brilliant EP with beautiful vocals and guitar. His voice is smooth and perfectly in tune and just really really good to listen to not to mention how sensational he is on guitar.
“Will you go now?
Will you hunt me down?”

 “Turret and Castanets” is faster paced and more rock than the opening song. It starts with electric guitar and drums but has a string accompaniment further into the song that is clever and accentuates  and compliments what he is already doing.

“South Bend” goes back to the acoustic sounds to flatter the sad lyrics of this song-
“You know you will stay here till the end
See me off, see me off past the south bend”

The pace picks up again with “S.O.S Angeles” with great catchy lyrics and the high standard of music Matt Lowell just seems to pump out...
“I'm doomed if I do,
Damned if I don't”

“Sage and Manzanita” is slower in pace and has delightful and clean music which accompanies the sad, slow lyrics-
“This may be too tough to handle
This may be too tough to take
This may be my own hearts mistake
But I am bound to break”

“Youth and Innocence” has more raw acoustic guitar and ties off Swan Lake beautifully.

I really think this is an awesome, awesome EP. Smooth, uplifting, calming (Takes on from stabbing a page out of sheer frustration to nailing the drawing, all in 22 minutes) all over amazing.

- Koala


Buy here: Swan Lake

Ripple Field Trip - Disco Nap @ The Powerhouse

This was my first “field trip” where I write a review and as I am writing not long after viewing the band, the post-live-music hype is still going around my head. So, in advance, I apologise for any craziness.

The Band-
Disco Nap is a group of two, Ross Hope and Derek Mudge, who sometimes play with lots of other people. They call themselves “electronic, emotronic, indie” I just call them cool. They also celebrated a Triple J Unearthed award.

The Scene-
Powerhouse Theatre, Friday night, 6pm playing as part of the “Residents” (which basically is just one band comes along and plays every Friday of a month to get some publicity going). It has a casual feel to it, just a small crowd. Really pretty location as well (google it.)

The Night-
These guys are great and no, I won't stop saying that. They are funny and can play like dynamite.

They opened the night with “False Teeth” which is a really sweet love song with lyrics like,
“The truth is it's you that I see,
In a nursing home next to me
The truth is I hope you're with me,
When we're old and frail with false teeth”

The line up got even better from there with the likes of “Back Down The Aisle”, “Birthday Song” and “Home Karaoke” to mention a few.

There was plenty of audience interaction, which always manages to make the night far more interesting than just the band playing song after song...

“I think we discussed today that we are veterans of the music industry.. *starts playing*..And all of the money to show for it too!” (Ross Hope)

“That song was going to be for my wife, but I don't think she is even here. I think that is grounds for divorce. What do you think?” (Ross Hope)

It could very easily be said that the highlight of the night was their cover of Icehouse's “Electric Blue” (now... I wasn't around in the 80's so if anyone can confirm or disprove this, please let me know). Disco Nap learnt the song in a week to live up to a promise they made. The reason the cover was so awesome was because of Derek Hope's saxophone solo... on the keyboard.
After finishing the song...
“Can we do the solo bit again? I practised for two hours today”
The encore was granted and after he finished there was a huge round of applause.

Finishing off with “Can't Concentrate” was a wise move. The loud electric guitar and bass filled climax resulted with half of the audience doing an amusing head nod.

Now, as I wrap this up I think I had better confess that I already loved this band before I sought out permission to write about them, which made it even better. They are really enjoyable and you really do have to admire Derek Mudge for his wild “looking for the sound” after every song change. Ross Hope's vocals are very strong and top off their music beautifully.

Worth seeing or buying their album (Running Red Lights).

--Koala (who is now off of her hype)

Vessels- Helioscope

I am a shallow music listener because usually I don't take the time to find out anything about the band I am listening to. I figure, they sound good, why bother finding out anything about them? Unless of course they are really, really good. (Did you know that Little Birdy was named after a Ween song?) The Vessels made me endeavour to discover something interesting as their music was so interesting, and this would also allow me to tack something onto the end of my recommendation.

“Have you heard the Vessels? Oh! You should they are good and *INSERT INTERSTING COMMENT HERE*”

So, off to google I go and the first thing I find is their webpage (handy thing > http://vesselsband.com/ ) and discover they are British. This may not seem major to many people but I am a real sucker for British music (I know... I am a traitor to my own country) and this seemed like something I ought to follow on with. I then found out that they had a previous album that they released back in 2008 (Don't worry. It is downloading now.) They also consist of five members; Tim  Mitchell, Martin Teff, Tom Evans, Lee J. Malcolm and Peter Wright.

Moving on from my lame background information that most of you probably know already...

Helioscope. Good stuff. Actually, really good stuff. Considering I had to wait two hours for it to download because I went over my limit, it had better have been. It didn't disappoint.

The first song on the album "Monoform" served as a way of calming me down from the murderous- throw- my- laptop- out- of- the- window point I was at. It is sort of trippy and reminds me a little of "M4" by the Faunts but more rock. "The Trap" keeps the mood.

The first vocals on the album start at "Recur" and I like it. It is simple  and  perfectly compliments the complicated almost rock music your ears are now revealed to.

"Later Than You Think" opens with a calming soft sound that has you straining to pick out what exactly it is. The music then builds your suspense as it becomes louder and closer to you then fades off  and opens up to another complicated, rhythmic and creative part of the song. The sound at the beginning then fades out, and it opens up to reveal another layer, then comes back to the sound. It goes round and round like this and it is a piece of music that is very well thought out and planned but still holds a spontaneous feeling in it as you aren't quite sure what the next layer it holds.

So maybe I am just a little girl on the inside because I was giggling for several minutes because of the title, and the lyrics of "Meatman, Piano Tuner, Prostitute", “We'll ride horses, After we bathe together.” This is not because I am an insensitive, immature person but because a few of my straight male friends were joking about riding horses naked together the very same night... Seemed like an odd and funny coincidence to me... After I got over my own personal problems I really had to respect this song for its creativity and musical talents. The eerie sweet tinkling music and right of stage singing gives way to the end rock climax.

"Art/Choke" then continues the rock mood "Meatman, Piano Tuner and Prostitute" just set up, but minus the vocals. It builds the rock mood, then breaks off to allow for some fancy frett work, then builds again. Heal takes you back into the electronic sounds that the Vessels seem to have mastered.

"All Our Ends" is my favourite song on the album. Vocals, electronic music, the complicated layering all perfectly matched and really hits the spot.

Finally,  "Spun Infinite" is the prefect end to Helioscope with note holding lyrics to electronic mixed music. It seems quite a sad song, due to the elongated sound over the minor notes.

All in all, a good album. The strong instrumental and electronic sounds are quite polished with the vocals enhancing the music instead of being the reason to have the music. Refreshing and invigorating to listen to.

- Koala

Buy here: Helioscope

Meekos &Me- Anxious Little Turtles

The first thing you will notice about the new LP released by this LA based band is the fourteen song length. Now, I am no expert but fourteen songs is longer than the average LP, especially if they are of this quality. All of the songs are really good and the sound is built to suit the content. Due to their changing style and story telling it manages to keep you interested throughout the entire fourteen songs.

As I have mentioned, Meekos&Me is a LA based band. They are comprised of guitarist, songwriter and singer Joey Colando and classically trained cellist Danny Grab. Anxious Little Turtles is their debut release and gives a glimpse of the greatness that is to come. It is difficult to sum them up into a single genre as it is clearly a work of creative collaboration rather than a decision to make a folk band or a rock band.

“Entropy” is the opening of the album. With good acoustics and cello support and creative, clever lyrics it gets you ready for what is to come.
“I say I love you,
You say you love me.
But oh my god,
Its been way too long.
Strength divides the weak from the strong”


It is surprising how well the electric sound from the guitar and the classical cello work together in “Grove Street”, accompanied with soulful vocals and lyrics about separation. Tied together to make a neat package.
“We've got green plants in the garden
It was nothing before we stared
And I know that
So stop your whining
Get away from me, if you are crying.”


“Underwater Dream” is a song about a merman's love for a human and is recorded to sounds muffled and bubbly, as if you were underwater as well. It really shows of the duo's creative outlook on their music.
“I can walk on water, on the bottom of the sea,
And when I talk to you, you can't understand me.”


“Animals in my Room” immediately caught my attention because of the opening with the Kookaburra laugh and the other lyrics that refer to Australian animals,
“Kangaroos, Polar bears,
Owls with their crazy stares,
And I am scared”
This was released as the single and it is easy to see why. It represents the album well with its eccentricity that still stays between the lines of normalcy. 


“Mountains in the Rearview” has a “hillbilly” sound to it with banjo like sounds and the pitch climb that hillbilly music has. Additionally, interesting lyrics.
“I'm going home,
Because you're back home.
Every night we are the last to fall asleep,
We talk about music
And we act so casually”


“Steven and Kirsten” is one of those growing up and moving on songs that most people are going to relate to. It is lyrically well written with a country sound to it (think tambourines). I especially related to it as it is pretty much how I ended up moving to the city. Just decided to one day and packed.
“All she wanted to know,
Is why you move so slow,
All you have to do is pack and go”


Joey Colando's talent on the guitar is on showcase with “Fantasies and Fairies” being carried by his brilliant fingerpicking style. With creative lyrics it is another exceptional song.
“Fantasies and flying fairies
Are you insane?
Act your age.
You gotta act your age
These days”


 “Umbrella” opens with Danny Grab's cello solo then breaks into being rhythm based. The cello stills features largely in this song and has a really good sound to it.
“I saw you laugh a lot the other day
You looked so cute
Do you think you look any other way?”


“If I Don't” has a great acoustics accompanied by soulful cello which is perfectly matched for this love song.
“I'll be with you some day,
I will.
I'll be with you one day,
My heart always will.”


“Whistle” is another sweet acoustic song that has almost dark lyrics to it. Unexpected but brilliant.
“But I whistle everyday
Cause I have nothing to say.
I lose my mind with you
I will someday
Oh, one day.”


“Kid Things” another song that is percussion and cello dominated but it then opens to a surprising electric guitar climax. It was really enjoyable hearing it open up and explode like that.


“Whistle (reprise)” is the only song on the album that is not full length. Whistling to the tune of “Whistle” it is a sweet way to wrap things up.

Overall, a really creative album. It is enjoyable to listen to and I will be on the look out for their next releases. 


-Koala

www.meekosandme.com/

Cattle Drums- The Boy Kisser Sessions +3

The thing that works with pop rock is the mix of catchy pop and heavy rock sounds. This EP by Cattle Drum brings that together, but in an unexpected way. Usually in pop/rock albums, the music is rock and the vocals provide the sing along pop but not with this EP. The music almost reaches the point of pop, the vocals definitely rock. It is possible to even go as far as saying the only thing that makes it pop is the guitar riffs that make you want to play along.

The entire The Boy Kisser Sessions +3 EP is full of cryptic lyrics and is wildly unpredictable making it really fun to listen to.

The first surprise is delivered with the first song. "New Furniture and Wigs" is a great opening to the album with an awesome riff that makes your reach for your guitar to try and play. The surprise is really the vocals. After hearing the riff you are expecting something a little  Fall Out Boy in flavour, but you don't. You get hit with impact making, tuneful shouting. The same sort of taste follows with "Who Punched Pat Moore's Face"- really great riff.

Just when you are thinking, “Okay... I think I can get what they are doing here...” they pop in "Sluts and Coconuts" which brings the two fast paced impact hitting songs to a slower more relaxed point. With a smoother, higher pitched riff and lyrics you can almost follow. "Bovrg the Nag" keeps you on the same wave as "Sluts and Coconuts", which is something you can appreciate in the roller coaster that is this EP.

 "Two Pigeons" has a sweet little opening, with acoustic guitar and soft drums, transitions into the faster paced, and backs off again later in the song.

"Just the Right Height" has an electronic start opening up to the tuneful shout that, at this point in the EP, you are beginning to really like. The lyrics still baffle you with things like-

“Doc scaled the walls of the typhoon front line, but I don’t mind the drive underground. Put em’ up high. A left handed pitcher who only throws curves, throws a fit”

"All the Electric Secrets of Hell" begins with my favourite riff of the album because it is soft and engaging. The obscure lyrics have also grown on you and you can almost find yourself wanting to sing along to the chorus of-

“Uh oh I’ve been waiting up all night, for something sweet, to crawl in my mouth.

You’re cutting out 'land ho' I’m wasting away out of bounds, scraping off my nails, and chewing off my tongue, but I’m at it again wearing in the wrong shoes.”

"I Know Who Killed Me" tops off the unpredictability of The Boy Kisser Sessions +3 by opening with lyrics, which none of the other songs have done. This is my favourite song because it provides me with a mental picture in my head of some crazy imaginary world thanks to the opening lines-

“I want to be more than a dramatic silhouette spilling gasoline on my paper shoes, to waste away playing kicking the can in an uphill landscape full of loose connections, a landscape prone to open flame.”

It can be also noticed, that in this song the shouting has almost dissolved into talking and the final half with just the tapping throws me out of my imaginary land into a jungle waiting for a cannibalistic tribe to eat me.

It is as if the Cattle Drums just went insane during this EP, and that is why I like it. You have no idea what is going on, where it is heading and you can't even sing along because you are never quite sure if you are going left or right. It appeals to me, and hopefully to others, because it is unlike most other productions. If anyone works out the meaning of it all, let me know.

-Koala

Buy here:  The Boy Kisser Sessions + 3

Sunday Lane- Bring Me Sunshine

Strange looks followed me home on the train as I just couldn't help singing. I am not sure if the looks were for the off key whining noise that constitutes my singing or for the catchy, poetic words of Sunday Lane. Bring Me Sunshine is one of those special albums where upon hitting play, you know you will like the entire thing. This thought was confirmed after three back to back plays.

There is nothing wrong with this classical pianists musical talents. The music is varied, but not so much so that the transition of songs seems out of place and choppy. The melody is smooth, free and heartfelt, a few bars into "Heavy Hand Heavy Heart"  and you want to cry. The guitar is crisp and is clearly done be someone with talent. The whole thing feels very well practised and clean, no accidental slip of a finger, no chord struck to hard, perfection. If you like your music performed to unbelievably high standards, this is where you will find it. It is acoustic, but not the rough hill billy sort, with polished piano dominating. The set up is simple and sometimes simplicity yields good results, this is one of those times.

Sunday Lane's voice reminds me a little of a softer Julia Stone (no one shoot me!). It isn't as rough but still holds that raspy-ness that makes it distinctive and makes all that she sings sound very soulful.

My reasoning for liking this album is straight forward- lyrics. There are no light airy fairy songs on this album each one is relevant or makes you think about what is being sung to you in a distinctive, beautiful voice. It is almost as if you are having a good chat with her, just in music form.

"A Little Hope" is a perfect example of relevance. Who hasn't sat around wallowing in self pity and then had that wonderful feeling of knowing exactly what it is that will fix it? The “light bulb” moment has been perfectly encapsulated.

“I got a reason to smile right now

'Cuz I finally figured out what I gotta do”
Feeling the goodness now?

Next, poetic brilliance. It shines in bright "Won't Go Back Down" with lyrics like-

“Happy days are behind me

Stranger ones ahead

And I've never been so scared

Never been so content”

"Heavy Heart Heavy Hands" deals with a very heavy social problem in a sensitive and understanding manner. It distinguishes itself from other songs about the same topic by not pretending to understand or know how it feels to be in that situation. Sunday Lane merely talks about what is happening and is grateful for what she has had in life. This sort of sensitivity out to be praised loudly.

The final song on the album is perhaps my favourite. "Reckless One" is what I got caught on the train singing, and for good reason. A catchy lyric base topped with a piano and guitar mixed harmony that is free and delightful to any music listeners ears. Most importantly it is relevant to me, and anyone else who has ever been in a relationship I would think-

“You can be careful
And I'll be the reckless one
I'll get my heart broke
But someday I will find love”

Although one may have been on the wrong side of those lyrics on occasion...

Deep lyrics, music that hits all of the notes you expect it to, worth giving a chance and listening to.

Public humiliation not essential.

--Koala

Buy here mp3: Bring Me Sunshine

Strand Of Oaks – Pope Killdragon

Full disclosure:  I have never had much success enjoyably listening to bands or albums just because they have a great name.  I don't think very many people do.  However, that is how I stumbled across this hidden gem of an album in 2010.  Strand of Oaks, the recording moniker used by Timothy Showalter, is, at its core, a singer-songwriter project.  Rarely is anything ever heard beyond Showalter's melancholy voice and his guitar.  Many of the songs you don't even hear his voice, choosing to forego that route for simple instrumental tracks.  However, for his second album, Showalter lets go of some of the despair that was the root for his first album, Leave Ruin, and chooses the much quirkier route of writing a concept album.

More disclosure:  I am a sucker for a concept album.  From Neutral Milk Hotel's Anne Frank-inspired indie-folk classic In The Aeroplane Over The Sea to Titus Andronicus' Civil War themed The Monitor, the stranger the concept, the more I am sucked in.  So, what is this grandiose concept that drew me in?  The same disappointment and regret as before, but this time focused around fictional stories involving the Bible, The Kennedy's, and everything in between, up to and including Ghostbusters. That's right folks, Ghostbusters.  Honestly, some of the concepts would not be out of place on one of your favorite metal albums.  Tales of 12-foot monsters leading to mothers crying in the street would seem quite fitting on the new Mastodon album, but not on a quiet indie-folk album.

 But enough of the concept, what about the music?  As I said before, rarely does he disembark from the textbook singer-songwriter aesthetic.  So, as is typical with these albums, the lyrical content is what must stand apart, and he passes with flying colors.  On “Kill Dragon”, Showalter starts of with what would seem like a fitting song on his previous album, singing about how everyone has left him, whether it be through break-ups or death.  However, the tempo picks up, leading to him repeating the line, “Mary, Mary, Mary would you marry me? / Then me and you and Jesus could be a family”.  And that's how the song ends.  That just sets up the strange feel of the album.

 On the next track, the seven minute centerpiece “Sterling”, Showalter launches into a story about a dream he had about a trip he took with the Kennedy's, in which John Kennedy discovers a German tale written by his estranged, bastard son about a pope named Killdragon. However, at the end of it all, he reminds you that he still has a heavy heart, telling about how he “drank himself to sleep, just to get some company”.  But, this is also where the music reaches its apex, a the acoustic guitar is subbed out temporarily for an electric and the drums slowly kick in as Showalter's voice fades out behind the wall of sound, saying “I saw him coming” over and over, further painting the picture of him drinking and passing out, repeating those four words.

The entire album carries this same weight.  As Showalter deftly strides from song-to-song, the listener gets insight into his own life, despite the fact that it is projected onto the wild songs of lore.  Also, in case you were wondering, “Alex Kona” is the song that references 12-foot giants and mothers crying.  “Daniel's Blues” is about Dan Aykroyd wanting John Belushi to have a role in Ghostbusters, but he had passed away.  He sings about who he will get to replace him (But who will I call / Chevy's an ass and Gill has got a cold”).  I won't spoil anything else for you, but it is easily the most cathartic song ever written about Ghostbusters.  Just do yourself a favor, and, if you are a fan of folk music (Or even doom metal, as he shows he can do that too with the song “Giant's Despair”), just listen to the album and let Strand of Oaks wave of tales drown you in its sound.

--Genesis

Buy here: Pope Killdragon

Caddy - Electric Hero

Sometimes things are better if you do them yourself.  That is exactly what Norway’s Tomas Dahl appears to believe with his one man power pop band release “Electric Hero.”  

Dahl calls his solo band endeavor “Caddy.”  It is an apt name.  A caddy in golf is one who carries a player's bag and clubs and gives advice.  On this release Dahl carries all the instruments and vocals. He is the “Caddy” and the player.  Before inventing Caddy Dahl was a member of  two noted power pop bands - The Yum Yums and Wonderfools. After listening to “Electric Hero” I could not help but speculate that the album came about because Dahl couldn’t get those bands to play his music exactly how he wanted it to be played.  Caddy is Dahl’s opportunity to “have it his way” and he delivers it with relish.

Although he calls Caddy’s music “Paul Stanley and Bryan Adams writing songs together . . . in Brian Wilson’s house” that is not what I hear.  Rather, my aural palette tells me the sound is Blue Oyster Cult meets Fountains Of Wayne at a party thrown by The Black Keys.  When I realized Dahl wrote all the songs, played all the instruments, produced the album, and sang every note, I was flabbergasted. He is truly a musical army of one.

What you get with “Electric Hero” is an amazing array of catchy lyrics, blazing multi-layers of guitars, blistering drums, perfect harmonies and vocals with true grit.  The melodies are infectious.  From “Hanging On To Nothing” through “Long Way Home”  Dahl takes the listener on an accessible and astonishing power pop journey.  Just when you think the music is  becoming too sugary sweet Dahl changes it up and crush rolls you into submission.

This is not a concept album.  Each of the fourteen tracks stands on its own and each could have easily been released, and been successful, as a single.  These days Norwegian bands are generally known for “black metal” music, but none is found on “Electric Hero.” Instead, you get some of the best power pop of the past decade.  The slogan of Norway may be “Norway, Powered by Nature.” However, after you listen to “Electric Hero,” you might suggest that it be changed to “Norway, Powered by Dahl,  a force of Nature.”

- Old School 

Buy here mp3: Electric Hero 

Music Writers Wanted! Come Join the Ripple

Well, here it is.

Our first call for writers brought us the stellar talents of Penfold, who's been regaling us with imaginative tales from the netherworlds of music writing.  Our second call brought us the wonderfully heavy world of Horn.

But, we think we're still a bit short.

The Ripple Effect is growing so big, so fast, there simply is no way for us to keep up with all the quality music that comes in.  And now we could use just a little help.

We've got openings for one or two more writers.  We'd love someone who has a mind for lots and lots of  emo, electro, and indy pop. We could also use another gifted metal writer. If it happens that both those minds are in the same person, then so much the better.

So, if you'd like to write about music, get lots of free music to review, and have your column syndicated across everything from GuitarWorld Magazine's website to USAToday, let us know.  And the Ripple now gets more than 1,000,000 readers a year.  And growing.

We can't pay ya, other than in good music, lots of love, and a lifetime membership in the Ripple gang.

All it takes is a desperate passion for music and the desire to tell people about it.  As fun as the gig is, we'll only take people with a serious commitment to listening and writing.  Nothing half-assed about the Ripple.

Send in a writing sample about an album you love, 5 or 6 paragraphs.  Tell us why you love it, how it makes you feel and why the rest of the world should care.  Create some ripples.

That's what we do here at the Ripple Effect.  Create some ripples.

The Virgins - S/T

For the past couple of years, there have been a lot of great debut albums by indie bands. Now that may be hard to believe for some, but it’s surprisingly true. Whether it’s a New York new wave band or another alternative indie rock band, the quality is out there, but the key is finding those bands. Back in 2008 I kept hearing about this New York post-punk, new wave, and indie rock band that has a playful, party sound called The Virgins. Sadly, it wasn’t until 2009 when I took advantage of actually checking out their eponymous debut album, The Virgins.

Now I don’t normally admit this, but it’s one of the only times I do regret not buying an album right away. After I immediately purchased the album, I listened to it five times and haven’t looked back since. The Virgins are arguably one of the best bands to emerge in the past five years.

However, due to their cocky, playful lyrics they have been heavily criticized for their music promoting promiscuity and being used in Gossip Girl, 90210 and 17 Again. Luckily, they have also gotten air time on Entourage and an awesome reference in Kevin Smith’s Cop Out as the band Bruce Willis’ daughter, Ava Monroe (Michelle Trachtenberg), wants to play at her wedding. It was the latter reference that made me want to elaborate more on this suave, slick, and sensational band, The Virgins.

Energetic, enigmatic, and entertaining, The Virgins captivate you from beginning to end on their debut album. Living a life full of debauchery, the album is filled with stylized 80s energy dance music. You will have fun listening to this upbeat and uproarious album.

The album starts off with a smack to the face. Reminiscent of “Kick Out the Jams” by the MC5, “She’s Expensive” starts out with profanity to kick off their eponymous debut album. The catchiness continues with one hook right after the other and takes you on a joyride of what lies ahead for the entire album.

With the swagger of The Strokes, this New York quartet just keeps up the pace with their next track, “One Week of Danger.”  The song is filled with some sleazy, sexy music that has killer dance beats.

The good times continue with “Rich Girls,” a song filled with insightful advice of hopping into bed with random strangers and dealing with stuck up “girls.” It’s undeniable that their audacious and ambitious lyrics attribute to their fun party songs. Like a Franz Ferdinand song, “Teen Lovers” delivers an irresistible quickly paced catchy song that stays in your mind long after you have stopped listening to it."Fernando Pando" perfectly captures that regrettable one night stand in a stylish sweet sounding song filled with a heavy bass that you can’t help, but laugh and feel his misery at the same time.

Starting off with some remarkable riffs, “Hey Hey Girl” is an easy going, raunchy song that puts an extra swagger in your step and is once again another entertaining song. Cumming’s soothing voice enlightens his listeners and shows a deeper side with “Private Affair.” Nothing is more devastating than finding that special someone who won’t commit because “She has always avoided falling in love.”  It’s a great example of how The Virgins music is relatable to the teen demographic and mature listeners at the same time. Everyone can appreciate this band.

Suave singer Donald Cumming at times sounds like Elvis Costello with his wide ranging voice from joking around about meaningless sex to tender heartache, an aspect often lost in today’s music. It’s all fun and games for this lively bunch who have created a fast-moving, appealing album. Killer bass and funky beats enhance each song to create one remarkable album. Other bands to check out include Hockey and The Teenager.

-- Mr. Brownstone

Buy here: The Virgins

What Laura Says - Bloom Cheek

I was ready to write What Laura Says off even before I heard anything from their sophomore album.  I mean the band’s from Tempe, Arizona, a college party town that is the home of Arizona State Sun Devils.  I’ve been there.  My brother went to ASU and they are reputed to have some of the most well-paid college football players in the world (outside of USC.)  Tempe is a town of western oddity - usually ten years behind the times; partial to country, mariachi and ranchera music; and always up for a college beer bash.  It is also a suburb of that liberal Arizona bastion known as Phoenix. This is a state where they have prisoners incarcerated in pink pajamas outdoors in the desert; require their citizens to carry identification at all times; and permit them to carry loaded firearms in public.  Let me just say I was a bit skeptical that Tempe, Arizona could produce much in the way of cutting edge alternative rock music.

So when I cued up Bloom Cheek my expectations were exceedingly low.  I even thought of boycotting the album altogether as a political protest of sorts over Arizona’s immigration policies.  But that would not have been fair to the artists Danny Godbold (keys, guitar, vocals), James Mulhern (guitar, percussion, vocals), Greg Muller (drums), Mitch Freedom (bass, vocals) and Jacob Woolsey (percussion) that comprise What Laura Says. So I soldiered on and I’m glad I did.

 The album Bloom Cheek crosses genres, bends melodies and exhibits stellar musicianship.  One reviewer, Mindy Peterman for Seattle pi Music, likens it to “the more experimental Beatles records.”  I didn’t hear the Beatles but I did hear vestiges of Steely Dan, King Crimson, the Commodores,  Pink Floyd, Flora Purim, the Beach Boys and Leadbelly all in just the first five tracks!

 The album starts with “Training,” a jazzy, alternative song with superb guitar parts and infectious pop vocals and harmonies.  The next track, “On The Fence,” boasts ethereal vocals and a harmonized up tempo beat that is almost a samba, but not quite.  The song for which the album is named, “Bloom Cheek,” follows.  If I didn’t know better I would say the tune was a lost Donald Fagen and Walter Becker classic.

 After their foray into Steely Dan-like music What Laura Says moves on to the sound of Brian Wilson on the Smiley Smile album with “I Follow.”  Then comes one of my favorite songs on the  album, a straight ahead acoustic blues piece “Keep Running Show Special.”  The guitars are amazing;  the harmonies outstanding.  The song sounds like Leadbelly’s “Black Betty.”

The album takes a turn with “Lines and Colours.”  This one is in the genre of experimental rock with overtones of Pink Floyd and King Crimson.  It starts off slow and morphs into a driving beat covered with rising and falling harmonies and guitar. Then, it stops and instruments are used as sound effects.  Listen and you feel like you are in a submarine.  I was ready for Justin Hayward to read from “Nights In White Satin,” “Breathe deep the gathering gloom.  Watch lights fade in every room. . . .”  The song “Gardener of Wonders” which follows returns to the feel of the Beach Boys’ experimental music.  It encompasses haunting harmonies with droning and swelling instruments that also contain sound effects that reminded me of a coming storm.

“Roll Some Coin” starts with the sound of change being dropped - somewhat like the start of “Money” by Pink Floyd. This track is an progressive instrumental rocker.  Screaming guitars, distortion and swells.  Much heavier than anything else on the album.  There is no electric guitar on the 1973 album “Hymn Of The Seventh Galaxy”  by Chick Corea’s Return To Forever. However, the sound of “Roll Some Coin” is rather similar. “I’d Dance For You” slows things down and feels like a Steely Dan album cross-fertilized with the Beach Boys’ album “Smiley Smile.”

On “Grocery List” What Laura Says starts with a reggae rhythm but quickly turns to a  mixture of pop evoking the Beach Boys of the late 1960’s. After “Grocery List” is completed the band turns to “Take It Spoke,” an acoustic folk song accented by Brian Wilson-like harmonies, that ends with a classical jazz piano outro  The album concludes with “Lambhair McDaniel,” a song with a very 1950’s, early 1960’s, ballad rock feel - like the Drifters meet Zappa.  The song and the album ends with clipped and processed ethereal guitar and keyboard playfullness.

What Laura Says tours extensively.  As they say on their blog “Here we are, yes indeed, here we are.... on the brink of doing what every Arizonan dreams about doing when the onslaught of summer sizzles the backs of our necks: road tripping.”  Through June 25, 2010, the band will be all over the East Coast - from New York, NY to Tampa, FLA.  From the end of June through mid-July 2010 you will find them on the West Coast.  Outside of Arizona the only paper you will need in order to see them is a concert ticket.

-- Old School

Buy here: Bloom Cheek

Dirty Madame – S/T

In truth, we get so much music slogged in through the Ripple doors by Postman Sal, that sometimes it’s hard to keep track of it all. That’s definitely the case with this nifty little debut E.P. by Los Angelenos, Dirty Madame.  I have no idea how this disc made it’s way to our office, who mailed it in, where it came from, and no idea how it wound up on my desk in my ever-expanding, leaning-tower-of-CD's to review stack.  But there it was.

As is Ripple policy, everything that comes in gets listened to, so this fine blustery morning, Dirty Madame found it’s way into the Ripple player and . . . damn!  Where did this disc come from?

Dirty Madame play an intensely groove-oriented brand of quirky pop/rock that is a lot heavier and riff oriented than that simple description might lead you to believe.  Over the track of these four cuts, the four-piece hunt down the inherent grooviness in each song like a tribe of bone-pierced Brazilian rainforest hunters tracking down some fresh game.  And they do it with astonishing confidence and an ease that belies the complexity of the songs.  In short, these tracks rock, plain and simple, with a style all their own.  And that style is pure fun.

“June,” brings some off-kilter tones to the opening riff that immediately caught my ear.  Back that up with an incessantly strong rhythm section and my ass was moving all around in the driver’s seat before I’d even hit second gear.  Topping this off is the decidedly original vocals of Greg Davis, who manages to sound distinctly indy yet commercial at the same time.  At times his voice most reminds me of Colin Hay the old lead-singer of Men at Work, and that’s a compliment.  Greg let’s his voice rise and fall all around these songs, weaving in and in between the groove.  "June" starts off with a donkey-kick to the ass and just keeps on going from there.  The more I hear it, the more I like it.

Check out the band’s myspace and they list a stack of influences that’s about nineteen country miles long.  In truth, I don’t really hear any of those in the music.  Maybe a touch of Kings of Leon in the quirkiness of the guitar work?  A smattering of White Stripes in the straight-ahead delivery?  A flavor of Franz Ferdinand in their ambition?  Some Strokes? And Men at Work, damn it!  If not just in the tone of the vocals, then in the instantaneous catchiness of their melodies.  (I’m working that Men at Work angle here, and I’m not gonna let it go.  Particularly if Men at Work knew how to rock this hard.)

“Michelangelo,” brings back more of that near-off time riffing with some propulsive rhythm work and a serious freak out on bass.  Let me toss in fIREHOSE here.  Maybe?  Not sure, but there’s something subversive yet infinitely cool at work here.  The whole affair reminds me of Jonathan Richman’s ode to Picasso, if not in execution than in intent.  Expect this song on Ripple Radio soon.  And often.

Ok, so now that the boys got my attention, they switch gears in a dramatic way with “Santa Anna,” probably my favorite song on the album.  (Yeah, I know I raved about the others already.  I still like this one best.).  Riding more of a mid-tempo pace (though you wouldn’t know it from the hyper-kinetic drums), this song is a slow burner, with killer harmonies and that distinctly Colin Hay-ish vocal delivery (I told you I wasn’t done with that line of thought). 

“Like the Sound,” finishes us off just as strong as we started, and in fact, a bit more rocking.  Blaring out a fuzzed guitar riff that sounds like one half of the “You Really Got Me,” riff by the Kinks, Dirty Madame reveal their inner garage here.  Straight ahead and ballsy, a fitting end to a surprising debut.

Brimming with confidence and the chops to back it up, Dirty Madame got me to give them the double eye-brow raised salute.  In fact as this was playing, my son stepped into my office and declared that Dirty Madame are everything the Ripple is about: the best music you're not listening to.

Don't make that mistake.  Check these cats out.  They're definitely a band we at the Ripple are gonna keep our collective eye on. 

Now if I can only figure out where it came from.

--Racer

www.myspace.com/dirtymadame

Ripple News - Free Music Digital Album - Best of Indy Rock - Courtesey of Exploding in Sound

Nothing brings in the positive vibe of a new decade like a massive free music giveaway!

If those words are music to your ears; if you love checking out new bands, searching for your next favorite band; and if you love doing all this for free, have we got the solution for you.

Over at Exploding in Sound, Dan Goldin, the main man running that website has made it his mission to track down the best new indy rock, compile it all for you on free digital download albums (complete with artwork) and setting it all up for your consumption. The last compilation, Future Legendary was neo-legendary in itself. Now Dan comes roaring back with his fourth and latest compilation, Circulatory System.

Like the organ system that spreads nutrients our bodies can’t live without, helping fight disease, Exploding In Sound aims to do similar for your musical distribution network with the fourth installment of its acclaimed series. Through the nineteen track Circulatory System compilation, the aim is to spread great new music to everyone interested in helping fight the disease that is tired old generic rock.

It’s with the spreading of the compilation that we can combat the toxins being force fed to us with truly incredible new music that will prove beneficial for the mind, body, and soul.

Featuring new music from some of the greatest independent bands in the world including The Willowz, Rishloo, Constants, Radio Moscow, Irepress, Stomacher, The Boxing Lesson, and many more, Circulatory System is a 100% FREE digital download, containing artwork, band descriptions, links for further enjoyment, and more.


DOWNLOAD HERE: http://www.explodinginsound.com/2009/11/exploding-in-sound-presents-circulatory.html

Tracklisting:

1. Radio Moscow - I Just Don't Know
2. The Willowz - Repetition
3. Ultra Violent Lights - In Lieu of Pay
4. Woolgather - Wind-Up Bird
5. Stomacher - Police
6. The Boxing Lesson - Muerta
7. Gift Horse - Missionaries
8. Tangents - Fall Asleep Again
9. Constants - Damien
10. Bloody Knives - Buried
11. Rishloo - Downhill
12. The Dirty Dishes - Stolen Apples
13. Solar Powered People - Melting Ice & Snow
14. Blind Dog Sky - I'm Comin' Home
15. Blood Warrior - Blood Letting
16. Waxhouse - Ration
17. Monument to No One - Planetary
18. Emptyself - Just Go On
19. Irepress - Adeluge


Exploding in Sound is a website/blog created by Dan Goldin with the purpose of promoting and spreading great rock music. Circulatory System marks the exceptional fourth release in an ongoing compilation series aimed at breaking new artists and gaining exposure. The first three “Bands You Need to Know 2009,” “The Recession Rock Revival,” and “Future Legendary” have been met with critical praise and wide spread acclaim. All are available here.