Yeah, yeah, we know. Although we've had a Ripple Music Facebook page going for some time with some 1300 friends joining us, it took us a while to get around to launching a true Ripple Effect FB page.
But the wait is over.
Best of all, we're making a conscious effort not to make the FB page a carbon copy of The Ripple. Occasionally, we may cross-promote some really cool news, or tour dates, or reviews, but for the most part we're planning on making the Ripple FB page a real companion to The Ripple Effect.
And primarily, that means your source for some truly excellent free music! Yep, we're gonna use that forum as our place to upload all the links that come in to some great free albums, singles, compilations . . . whatever. As long as it's good music, it's free, and it's legal, we'll get it up on the Ripple FB.
So far, we've already posted links to the killer Tsurumi Records free compilation, the latest awesome set from Exploding in Sound, Stoner rock nirvana from the Soda Shop, a Canadian Death Metal compilation and a single from the brand new band, Bowery Beasts. All free.
So pop on over to Ripple FB. Friend us. Tell all your friends (please) and just wait to see what's the next free album we giveaway.
And, as always, drop off your thoughts, comments, suggestions. We really do listen to our waveriders and want to make this community as fun as possible.
Cheers,
The Ripple Effect Gang.
Showing posts with label torrent. Show all posts
Showing posts with label torrent. Show all posts
Sunday, April 24, 2011
Saturday, March 26, 2011
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
Wednesday, March 2, 2011
Ripple News - FREE STORMING THE GATES...TABARNAK! COMPILATION - MONTREAL'S 2011 METAL SHOWCASE AT CANADIAN MUSIC WEEK
Montreal metal will be storming the gates of Canadian Music Week, March 9th, 2011 in Toronto, ON at The Opera House (735 Queen St. East) for a head banging experience of the city's best upcoming metal talent. A free compilation has been put together showcasing the eight acts performing at Storming The Gates... Tabarnak! with Cryptopsy and Beneath The Massacre leading the charge. To download the compilation Storming The Gates...Tabarnak! Vol 1. please visit this following location.
STORMING THE GATES...TABARNAK!
MONTREAL'S 2011 METAL SHOWCASE
(a Canadian Music Week event):
Date: Wednesday, March 9th, 2011 - 6pm - 19+
Where: The Opera House, 735 Queen St. East, Toronto, ON
Tickets $25 available at www.ticketscene.ca and Rotate This
CRYPTOPSY (Century Media Records)
www.myspace.com/cryptopsy
BENEATH THE MASSACRE (Prosthetic Records)
www.myspace.com/btm
FATALITY
www.myspace.com/fatalitythrashfuck
THE CATALYST
www.myspace.com/thecatalystmetal
DISSENSION
www.myspace.com/dissensionmtl
DISGUST
www.myspace.com/disgustmusic
DUSH
www.templeofdush.com & www.myspace.com/templeofdush
SYKODE
www.sykode.com & www.myspace.com/sykode
Sponsored by:
Ticket Scene - www.TicketScene.ca
INKFUSION BAND MERCH - www.inkfusion-band-merch.com
KIAMECODESIGNS - kiamecodesigns@hotmail.com
LABYRINTHE BOUTIQUE - www.labyrintherock.com
Sunday, November 14, 2010
Ripple Music Crashes the Charts with First Hit Song! - Sky Parade Breaks into the Indy Top 20
KEXP Top 20 song, “I Should be Coming Up (But I Keep Coming Down) by Sky Parade featured with Grand Atlantic on this split 7” of psychedelic pop perfection.
Just in time for their World tour in support of their Top 20 KEXP song, the heady, trance-inducing psychedelic pop of Sky Parade is on full display with their highly infectious tune, “I Should Be Coming Up (But I Keep Coming Down)”. Produced by the Dandy Warhol’s Courtney Taylor and released in hot anticipation of their upcoming World Tour, "I Should Be Coming Up (But I Keep Coming Down)" has been lighting up the switchboard where the single has already climbed to number 20 on the KEXP Radio Chart and the Top 10 on KKBB.
Check out the video and hear the song that’s tearing up the LA clubs right now.
The split single will be available world-wide from the bands on tour and through www.ripple-music.com
"A joyride of dense, churning guitars that sounds like Primal Scream getting Spiritualized!" – L.A. Times
"Sky Parade have found Psych-rock's sweet spot" -- Buzz Bands LA
"Hook-laden genius" -- 90.3 FM
"KKBB Top 10 single!" -- KKBB
"Quite simply, this is a prime slice of psychedelic pop that you can dance to." Terrascope UK
Wednesday, November 3, 2010
Harry Nilsson - The Point!
“Dr. Penfold I just can’t take it anymore. I think I’m really at the breaking point.”
“Calm down Mr. Noname,” I say in a slow, pacifying manner. “There’s no benefit to getting this worked up after we have been talking through your issues for at least twenty five minutes. If you really were this upset, you should have expressed your discontent at the very beginning of your session. We’ve had this discussion before…many times. It’s alright. Just take some deep breaths. That’s it, there you go. Now, why don’t you tell me what is really troubling you.”
“Well Dr. Penfold, the whole world hates me. I literally feel the weight of the world bearing down on my shoulders all the time. Sometimes it literally slows me down to where I’m moving at half my normal speed or less, and…”
Okay, here we go again. At this point I pretty much tune out. I realize that it is my duty as a psychiatrist to pay close attention and make note of any new information that my patient wishes to provide, but frankly after treating this particular gentleman for the past several years – Mr. Noname (pronounced no-nah-mi) – the hackneyed nature of our discussions has worn me down. Honestly, I’ve compared notes and voice recordings from randomly chosen sessions spread over several years and the overlap is unreal. An outsider would definitely be forgiven if they assumed I had multiple mislabeled copies of the same session.
Recently I have been racking my brain trying to come up with something, anything really, that would help Mr. Noname out of his oh so common bouts of depression. Nothing from any medical journal or publication has proven to have any kind of lasting impact. Sure the techniques provided might ‘cure’ my patient for about a day, maybe a week, but the next session would reveal that we were right back to square one. Aggravating? You bet.
“…and I always hit red lights, never green. It is always storming all day long on my birthday. The grocery store never has my favorite cereal in stock, even though when I ask them about it they say they will get more in soon. Every Christmas, Mother Nature gives me the gift of a flu bug. If I become a fan of a sports team, they immediately start losing and quickly go bankrupt. When I…”
“Mr. Noname, I’m going to stop you there. What you are describing to me are circumstances that you can’t expect to have any control…you know what, I have an idea.” My idea would end this drivel for the next few minutes and give me some peace in which to try to come up with a new ‘cure’. “I want to play some music for you Mr. Noname. Whenever I am sad or upset I always put this album on and my day turns around 180 degrees.”
“What album is it Doctor?”
“The album is called The Point! by a man named Harry Nilsson.” I found my office copy on a shelf and put the CD into the stereo system.
“Huh, I’ve never heard of it before Doctor.”
“That’s okay Mr. Noname. Strangely enough, not very many people nowadays have.” Although I maintained my calming speech and demeanor, I could not press play soon enough.
The Point! was originally released in 1971. The album is the soundtrack for an animated movie of the same name. Both endeavors were the result of Harry Nilsson’s bountiful imagination. They tell the story of Oblio, a unique young man living in a society dominated by omnipresent points. Every individual person has a head that literally comes to a point. These people live in the Land of Point where everything is produced with at least one point in its design. Oblio upsets the balance of this society by being born without a point on the top of his head. The story follows Oblio as a young boy when he is singled out for his pointless condition, his subsequent banishment to a place known as the Pointless Forest, and finally his heroic return to the Land of Point with important life lessons in tow. The story is a wonderful morality tale that will appeal to kids and adults in equal measure, but enough about that. What about the music?
As stated earlier I listen to this album often when I am feeling down. Why would I do that you ask? Simple. This music has healing powers. It is actually impossible for anyone listening to this album not to be happy and content. Not the superficial happiness that people often experience with some new material possession or fake accomplishment. No, no, no. The happiness produced by this album is far more powerful and all-encompassing. While the music plays, and for at least a short time thereafter, everything seems right with the world.
All seven songs comprising the album qualify as pop music marvels. In all my years of music listening, I have yet to come across songs that are as instantly memorable as these. Once, I tried to break the songs down to their respective elements to try to understand the formula garnering such perfection. The music itself is provided by a multi piece band and is often very orchestral in nature. On top of the standard drums, bass, guitar, and piano of modern pop music Nilsson often includes strings, wind instruments such as flutes, horns, and also extra percussion in the mix. With all of these incorporated elements each song is very playful and engaging. The real star of the show however is the sublime vocal performance provided by Nilsson himself.
Harry Nilsson is hands down one of the best vocalists I have ever had the pleasure of hearing. He had absolute control of his three and a half octave vocal range, and he used it to great effect. Unlike some of today’s singers who show off their range seemingly in an attempt to shatter glass, Nilsson went about things entirely differently. He would record differing takes of a song in the studio to successfully harmonize with himself or add additional vocal flair to a passage. The end results are stunning. These harmonies radiate warmth like a high dollar furnace along with an overwhelming sense of compassion, and all of the individual layers give listeners the opportunity to continuously pick out nuances they did not notice before. The descriptor that automatically comes to mind is spellbinding.
Due to the top to bottom quality of this album, it is impossible for me to select an overall favorite track. On the other hand, I can tell you which of these songs pop into my mind with more frequency than the others. “Me and My Arrow” is intoxicatingly sweet with an ever-present playful organ line running behind some of the best sing along vocals in existence. The last song on the album, entitled “Are You Sleeping?”, is absolutely phenomenal. It opens a direct line to your soul, formally introduces itself, and proceeds to whirl your soul away in a dance of joy (it’s always a waltz for me) for a little over two minutes. Truly, not enough positive exclamations exist to adequately convey my feelings about this magnificent music.
Getting back to the present, the album was ending and I had not yet come up with a new ‘cure’ for my patient. “Alright Mr. Noname, this week why don’t we try…”
“Actually Doctor, I feel fine.”
“Really?” I admit it, I was dumbstruck. I couldn’t really believe it, but this manic depressive actually looked happy. Was that a smile on his face? It couldn’t be.
“Yeah, I can’t even remember what I was complaining about earlier. Do you mind if I take a copy of this music. I would really like to listen to it some more.”
“Of course, of course. Are you sure you are all right?”
“Yes Doctor Penfold. This music has made me feel like a new man. Thank you so much for playing it for me.”
“Your welcome Mr. Noname.”
I wrote a special note in my journal, and made sure it was underlined. Order More Copies of The Point! It Works!
-- Penfold
Buy here: The Point! (Deluxe Packaging)
buy mp3: The Point!
Buy DVD: The Point
Thursday, August 26, 2010
Zoroaster - Matador
I had a heard a little of Zoroaster in passing and always liked what I heard but was never totally knocked out. Sludgy, heavy, droney. There’s tons of this kinda stuff around these days, but the early reviews of their new one (and 3rd full length) Matador sounded like it was right up my alley. More rock and psych is what I was hoping for and now I got it. Zoroaster are known as Atlanta’s loudest band. Based on the live reports I’ve heard, they’re louder than Mastodon and the Atlanta Rhythm Section combined. Photos of them show walls of amps, flaming drums, smoke and 3 really unpleasant looking rebels wailing away.
Matador features 9 songs in 45 minutes and takes you on a trip through all the elements of the heaviest shit out there. Opening song “D.N.R.” starts off thrashy before morphing into some OM-ish drones. Will Fiore’s guitar is crushingly heavy but with lots of definition (Orange Thunderverb amps are awesome!). Very tall bassist Brent Anderson has a towering tone and drummer Dan Scanlan really pounds those tubs hard. It’s gotta be murder for him to be heard in their practice space with all those amps. Will and Brent share vocal duties.
“Ancient Ones” has a rocking Black Sabbath groove with some hoarse vocals that are almost black metalish in places. There’s even a tambourine in the mix. “Odyssey” is indeed a tripped out journey. Great groove and dynamics. “Trident” has some great guitar solos that remind me of the great Helios Creed. My favorite song is probably “Firewater.” It’s really tripped out. The bass and drums lay down a pretty speedy groove while all sorts of insane guitar noise is detonated on top of it. Longer songs like “Old World” and “Matador” both clock in around 7 minutes and don’t wear out their welcome. “Black Hole” is one of the faster songs and is followed up with the much slower “Odyssey II.”
Matador flows really well as an album. Play it start to finish for a very satisfying listen. The other Zoroaster music I’ve heard has had very murky production and really long songs. I’m glad they cleaned up the sound and cut some of the fat off the songs. Matador reminds me of another favorite album of 2010, Ufomammut’s Eve. Both these bands combine the heaviest of the heavy with acidic Hawkwind and Pink Floyd space jams.
Zoroaster just wrapped up a tour with Black Tusk and Dark Castle but are hitting the road again in Zeptember with Nachtmystium and The Atlas Moth. Everyone says the Zoroaster live experience is an all out assault on the senses with bright lights and a huge sound. --Woody
buy here: Matador
Matador features 9 songs in 45 minutes and takes you on a trip through all the elements of the heaviest shit out there. Opening song “D.N.R.” starts off thrashy before morphing into some OM-ish drones. Will Fiore’s guitar is crushingly heavy but with lots of definition (Orange Thunderverb amps are awesome!). Very tall bassist Brent Anderson has a towering tone and drummer Dan Scanlan really pounds those tubs hard. It’s gotta be murder for him to be heard in their practice space with all those amps. Will and Brent share vocal duties.
“Ancient Ones” has a rocking Black Sabbath groove with some hoarse vocals that are almost black metalish in places. There’s even a tambourine in the mix. “Odyssey” is indeed a tripped out journey. Great groove and dynamics. “Trident” has some great guitar solos that remind me of the great Helios Creed. My favorite song is probably “Firewater.” It’s really tripped out. The bass and drums lay down a pretty speedy groove while all sorts of insane guitar noise is detonated on top of it. Longer songs like “Old World” and “Matador” both clock in around 7 minutes and don’t wear out their welcome. “Black Hole” is one of the faster songs and is followed up with the much slower “Odyssey II.”
Matador flows really well as an album. Play it start to finish for a very satisfying listen. The other Zoroaster music I’ve heard has had very murky production and really long songs. I’m glad they cleaned up the sound and cut some of the fat off the songs. Matador reminds me of another favorite album of 2010, Ufomammut’s Eve. Both these bands combine the heaviest of the heavy with acidic Hawkwind and Pink Floyd space jams.
Zoroaster just wrapped up a tour with Black Tusk and Dark Castle but are hitting the road again in Zeptember with Nachtmystium and The Atlas Moth. Everyone says the Zoroaster live experience is an all out assault on the senses with bright lights and a huge sound. --Woody
buy here: Matador
Friday, August 20, 2010
Abigail's Ghost - D_letion
Abigail’s Ghost should have been formed a generation ago, following hard on the heels of noisemeisters like Nine Inch Nails and Curve, but there is a gap of 12 or 13 years before the guitar and powerhouse drumming sound of Abigail's Ghost came along as the natural followup. The bastard stepchildren of King Crimson’s love for unusual chord changes but with a love for the ‘90’s noise, the make a noble effort to combine both.
Abigail’s Ghost second album, d_letion, is a sonic battering ram. Expertly mixed the band turns in a killer opening track that lays down their intentions, with a guitar fuzz that morphs into a hard riffing song about an obsession that might be love or might be hate. Does it matter at a certain point? You can try to downplay me/But I’ll never go away/I’m getting close to breaking through/In spite of what you say/It’d be best to recognize/That I’m not afraid to put you on display The break moving into a sledgehammer of guitars with deliciously atonal solo from the Berkelee Graduate Lead guitarist Joshua Theriot.
Black lace wears its breathy sexuality on its sleeve. The New Orleans based Theriot sings about the rich girl that we’ve all seen: Prada boots and prescription pills/Born and raised in the Hollywood hills/She’s daddy’s little girl/Not a care in the world/With a trust fund paying the bills. But it’s the swirling break that catapults the song from its echoing arpeggios onto the edge of a dangerous cliff. "Sneak Peek" takes much the same approach, a beautiful lipstick tinged love letter from the stalker to the stalked. But, smartly, after bringing the hammer down on so many songs, "Sneak Peek" keeps its tension, never finding its sonic orgasm.
"Romantique Life" is my favorite track, the band, which has members living in two different cities, makes good use of sonic space, pounding the guitar intro into our brains before choking it off and using a moving, dancing bass line under the lyrics: Take a trip inside my head/Taste the fruit that makes me dead/A simple drug is a simple fix/And an amateur way for you to get your kicks. When the chorus finally comes in, the guitar returns, with a complicated riff out Living Colour’s impossible-to-play "babigails ghost". The echo drenched solos stretches from "Bridge of Sighs" to "Cult of Personality."
"Cinder Tin" combines the beauty of the velvet glove that Abigail’s Ghost loves to wield. The expertly controlled drumming of John Rodrigue and sonic landscape controlled by keyboardist Brett Guillory makes this the soundtrack of a movie that you’ve never seen but know by heart. By the time that Joshua Theriot and rhythm guitarist Randy LeBoeuf kick it in, they’ve highjacked the romantic thriller into Terminator-land with Theriot firing off a precise flurry of notes on a high speed solo.
"Gemini Man" makes some deeper statements about male identity that would seem out of place on an album like this, but they show Theriot and LeBoeuf digging a little deeper than the Bourbon Street beads. He’s someone to question/Who he wants to be/Decent family man/Or an absentee/All these lives put on a shelf/Compromise the one he’s made himself.
"Easy A" follows the album into the realm of unloosened sexuality, the anxious student, offering her self, seducing the teacher, who happens to be female as well. The carnival sideshow of mirror that highjacks the second half of the song may well as be the musical orgasm that was missing from "Sneak Peek". The most telling line of the song is the final one. After the seduction has succeeded, there is a knock at the door.
"Grave Concerns" closes out the album, a guitar player’s love of intertwining lines and notes. One can imagine Abigail’s Ghost Theriot and LeBoeuf figuring out the delicate fingerpicking over beers late at night and creating a beautiful two minute and twenty five second coda to an album of high powered and mood drenched rock.
Abigail’s Ghost second album is a winner and worth playing at high volume for its clarity of recording. Not a note gets missed.
Ready to head down to Bourbon Street himself – the fearless rock iguana
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