Sarah Fimm- Near Infinite Possibility

 

It is July 19th 1848. First women's rights convention. What do women want? The right to choose, the right to vote, equal opportunity! These conventions and arguments continued on for what seemed like forever (well, they are still going on so it is forever..). Whilst most women are just pleased they get a say in things, they have made important changes, even in the world of music.

Without their revolutions against tradition amazing artists like Sarah Fimm would be at home baking bikkies and cakes for their offspring instead of rocking out my eardrums.

I say all of this because the numbers of female artists I get sent are significantly less than the males ones. When I do get a female artist they are singing sweet pop or gentle acoustics, I have nothing against this, as you may have read in my other reviews, but just imagine my glee when I hit play on Near Infinite Possibility and I am rewarded with some very cool rock.

More importantly Sarah Fimm isn't pumping out stock standard female leading rock, the music on  Near Infinite Possibility is varied with clear pop and alternative influences. Yes, you get the faster paced electric guitar, drum dominated songs like “Soul Let Swim” and “Closer” but you get a break in the rocking out with a highlight on the thirteen song album being “Sing.”

“Sing” is the main acoustic song and outstanding. With gorgeous lyrics like-
“Sing
Let me begin
Make everything a story
Just sing
And a voice may come in
not forgotten and lonely
Sing”
It is a welcome change of sound at the ninth song. The acoustics are clean and the matching vocals make it one of the best on Near Infinite Possibility.

Jumping back in the time line on the album is “Disappear.” Starting acoustic, then jumping into climaxing electrics it is dynamic, making it brilliant to listen to.
“I still hope the sun will come in
I still hope the sun will come in
Disappear trust
Can I know it enough
Do you hold it in your hand
The memory of you”

If we keep moving backwards we can start right back at the beginning of the album. “Soul Let Swim.” This song shows the strength of Fimm's vocals, and how vocally talented she is. In addition to the stellar vocals there are clever lyrics. I don't know who did the guitar work, but that too is amazing.
“There is no judgment waiting
Only arms that reach in the night
No sense anticipating
Your secret eye
You look out
But you see in
Come out somehow
Soul let swim”
“Soul Let Swim” has the attention grabbing fast-slow-fast pace going on, a style that is continued throughout the album.

Finishing on a strong note is “Morning Time.”
“Tear me apart if it makes you feel better
Born to die high birds of a feather
I know a piece of something wise
All comes apart but is always together
Silent not to slip away
It does no good to turn away
Come in close to the mirror's eye
Reap the stark face of morning time”


Near Infinite Possibility is strong. The fast-slow-fast rhythm of the individual songs, and the entire album jolt the listener into paying attention and listening to the lyrics and not just the music. It is a good thing she does this are the lyrics should be listened to, being deep, thought provoking and enjoyable.

--Koala

Buy here: Near Infinite Possibility
Buy here mp3: Near Infinite Possibility

Hail! Hornet - Disperse the Curse

 

If swamp metal (like, say, Black Tusk) is punk, thrash, southern rock, sludge and grunge in a musical stew, then Hail! Hornet are swamp n' roll.

Fitting too, as while I write this it's 96.8 degrees outside, the A/C is half-broken, and on this second floor it's probably 115 degrees. It's hot (and humid) enough that I can actually feel my hair and beard grow out; shit, I can feel them WANT to grow out. I'm shirtless, sweating, unshaved (intoxicated?), and am really enjoying universes align here, really enjoying this synchronicity: my mental and physical worlds have almost perfectly coalesced into this record's sounds.

This record, this Disperse the Curse, perfectly encapsulates where I'm "at" now. Feel me?

No? Then dig this:

Current and former members of Buzzov*en, Weedeater, Sourvein, Bongzilla, Morne and others make up Hail! Hornet-- and if you're reading this site, you can probably guess exactly what this sounds like.
What you might not guess, however, is how much fun they seem to have been having recording this. This is 2011's version of 1955's good blowing sessions. Everyone got together, vibed off each other, and made that alchemy obvious enough to place on wax: dig us having a blast rockin out with our cock[in?] out. This is the dixie sludge metal equivalent of Monk, Parker, Stanley Turrentine and Coleman Hawkins jamming after hours at Minton's.

And Goddamn is it fun stuff.

Disperse the Curse is Motorhead if they smoked more than they drank, it's Entombed or the Cro-Mags if they were from the Deep South, it's...

...you feel me.

It's fun, uptempo sludge: a rickety old beast, bored of lurching town to town destroying all, laying waste, et yawn cetera-- who went and got stoned on an argot fungus in wheat and St. Vitus Danced his  goddamned way to a primrose path of carnage and mayhem that smelled like diesel oil, weed, cicadas and hot amp cable.

Still in? Yeah you are. Don't act like that doesn't sound like mad fun, son-- the album version of mudding, cow-tippin, going shoeless for a season, or nailing your hot cousin.

Specifics:

"Gifted Horse," track 2, is a particular ripper, as is "Glass Roses." "Unholy Foe" slows down a bit --just long enough to crush, you understand-- then "Scars" punishes you with a pear of agony for daring to think Hail! Hornet  had slowed down for even a second.

That last simile got a bit more grotesque than I'd intended.

ANYhoo... go listen.

--Horn

http://www.myspace.com/2hailhornet

Deep Purple – Phoenix Rising

It’s too bad this country is so damn big. My first viewing of this should have been with Racer and Pope since one of the reasons I started Rippling is because those clowns love Tommy Bolin-era Deep Purple even more than I do. But it’s a long way from Brooklyn to California so I had to settle for the next best thing. My friend Vinny lives three blocks away and has a huge TV and also loves Deep Purple. It’s a hell of a lot easier to walk over there with a 12 pack of Bud talls then to deal with airport security to go space truckin to the west coast.

Phoenix Rising is a DVD/CD documenting the polarizing Deep Purple Mk.IV era. You either love Come Taste The Band or you think it’s heresy. I resisted for a long time but finally succumbed to its powers a few years back though I do tend to agree with a statement that Jon Lord makes that it’s a great rock album but not necessarily a Deep Purple album. Even if you’re not a fan you’ll find most of the documentary pretty interesting. Glenn Hughes was the driving force behind the band at this point, as well as the drug abuse, and he does a lot of the talking. Jon Lord provides more of a voice of reason behind the madness. Ian Paice is represented through an archival interview from 1976 and there are some interview clips with Bolin as well. David Coverdale was probably too busy counting his money or shampooing his hair to have been involved in any recent commentary on this part of his career.

One thing that the 80 minute documentary makes very clear is that Deep Purple was HUUUGE in the 1970’s. Millions of album sold, arena tours, private jets, mega egos and tons of drugs. Deep Purple was always more of a drinking band but Glenn Hughes had a major cocaine habit and Tommy Bolin was deeply involved in heroin. The fact that they made a great album and Glenn is still alive is truly astounding. Among the fun facts revealed is that Glenn was sent home from Munich when they were recording because his drug use was so out of control. He says that back then the treatment was large doses of valium. To add intrigue to the story, there’s an incident that took place in Jakarta that resulted in the death of a roadie. Glenn is adamant it was murder, though there’s a disclaimer at the end saying that Coverdale does not agree with this statement. By the time the band reached Japan things were really starting to unravel. Tommy Bolin arrived with his left hand basically useless. The story is that he fell asleep on his hand on a weird angle and woke up unable to play. Whatever the truth is it’s pretty certain that drugs were involved. The band was planning on a triumphant return to Japan and had to work extra hard to pick up the slack to cover for Bolin. Mk.IV ended on kind of a funny note. While on tour in Europe, after the last show Lord and Paice decided to break up the band. Right after they made the decision, Coverdale entered their dressing room to tell them he was quitting. Sadly, not long after Tommy Bolin overdosed ending a career that had a long way to go. Personally, I found the entire thing interesting but I’m a freak. It’s probably about 20 minutes too long and really could have used some other perspective, especially from Coverdale.

The live footage from Japan has been around for years but never in this good quality. All 5 songs from the original VHS are here with excellent fidelity. This was filmed during the final concert at Budokan Hall and it’s obvious that Bolin is sub-par but still pretty damn good. Jon Lord works really hard at picking up the slack and his playing is incredible. The rhythm section of Hughes and Paice is unbelievably tight and Coverdale’s vocals are spot on. What a killer band. There’s a kick ass version of “Burn” and great versions of “Love Child” and “You Keep On Moving” from Come Taste The Band. Mk.II standards “Smoke On the Water” and “Highway Star” get played but the jams are lengthy and self indulgent. And who allowed Glenn sing “Georgia On My Mind” in the middle of “Smoke On The Water?”

There’s also a 70 minute live CD made up from recordings from Japan and a much better concert in Long Beach, California. You get audio of the five songs from the DVD (though “Burn” is from Long Beach) plus “Getting’ Tighter,” “Lazy,” “Stormbringer” and “Homeward Strut” from Bolin’s Teaser album. And if that wasn’t enough, there are two fat, full color booklets. One contains a band history of DP Mk.IV with lots of photos and vintage press clippings. The other booklet is a reproduction of a 28 page Deep Purple magazine produced in 1976 with articles and interviews with Mk.IV as well as Blackmore, Ian Gillan and Roger Glover. You even get interviews with managers, booking agents and roadies. The packaging is great and even if you don’t watch the movie part of it more than once, this is a great value.

 --Woody

Buy here: Phoenix Rising [DVD/CD Combo]
Buy here: Phoenix Rising [Blu-ray]

The Black Metal Butterfly Effect featuring Ghostfog - Hear Them Whisper

 


The year is 2150 AD.  Yes, the human race still exists after 2012.  Historians finally realized the Mayan calendar ended simply because they ran out of building materials, room to continue, and willpower at the exact same moment in time.  In fact, the human race has never been better, a statement which sadly cannot be extended towards one particular musical genre; black metal.  Black metal has been steadily declining in popularity since the mid 2090s.  Sadly few true supporters remain to keep the dark flame alive.  Okay look…that last statement might be misleading.  At last count there were five black metal fans left in the world.  There’s me and four of my friends, who also happen to be my bandmates.  Wait…scratch that.  I just got a video message from Larry.  He’s quit the band to pursue pop stardom on this season’s Earth Idol.  Right!  So then there were four.

A lesser fan might be discouraged, but not me.  I have been working out the kinks on a brilliant plan to revive my beloved black metal music, bringing it to more appreciative ears than ever thought possible.  The plan is this.  Use the time machine that I’ve built in my basement to transport myself and two of my bandmates back to the year 2010.  Once there, we will split up, seek out like minded musicians willing to experiment with the standard black metal template, and help promote them to no end.  Thus we will expose music which breaks free from the well established black metal mold by drawing on other influences and genres, and thereby bolster the black metal fan ranks.  Unfortunately, there was one major flaw in my brilliant plan.  I had three remaining friends/bandmates/fanatics, and only two back-in-time positions to fill.  One of them would have to stay behind to monitor the others’ progress and return us to our new and improved present day.

“Wait a second Penfold!  Why aren’t you including yourself when you talk about who has to stay in the present?  That’s not fair!”
“Yeah!  Why is that Penfold?”
“That’s right!  How come Penfold?”
“Sam, Bradley, Phillip…calm down.  Look, I didn’t want to play these cards but if you’re going to act this way let me remind you of a couple of things.  One; I came up with the plan in the first place.  Two; I built the time machine.  Three; I’m the most fanatic black metal fan out of all of us.  And four; think about it.  You know based on my past indiscretions that I cannot be counted on to abide by the proper schedule required to safely monitor the progress of those sent to the past.  You all know this.  So yes, it’s not fair.  Guess what?  Life isn’t fair.  I’m going back to the past and that’s final.”
“Okay.”
“Fine then.”
“I guess that makes sense Penfold.  But who has to stay behind?”
“Well Phillip I’ve been thinking about that quite a bit.  I hate to break it to you my friend, but you have to be the one to stay behind.  You’re the best drummer I’ve ever played with, hands down.  You keep time like an atomic clock and you willingly practice everyday, far more than the rest of us, constantly honing your craft.  We need you to apply that devotion towards this new task.  Can you do this?”
“Oh for the love of Pete Penfold!  You know I can’t stand arguing with you.  You’re always right, and even if you’re not, I still lose the argument!  If I have to be the one to stay behind, I guess I have to be the one to stay behind.  I don’t like it, but you can count on me to do what’s necessary.”
“Thanks Phillip.  Sam?  Bradley?  Ready to go?”
“Uh huh.”
“I was born ready.”
“Alright.  Best of luck to each of us.  Phillip, push the button.”

Phillip obeyed my command, and the three of us seemingly winked out of existence.  Little did I know that what awaited us in the past would exceed my wildest imaginations.

Ghostfog  Hear Them Whisper

Have you ever wondered what a new wave electronic band from the late 1980s would sound like if they began playing black metal?  Well wonder no more waveriders because Ghostfog is here to demonstrate exactly that.  This one man musical dynamo hails from Germany, which I find somewhat fitting based on the discovery of other interesting artists who call that country home (Beehoover comes to mind).  Hear Them Whisper is Ghostfog’s latest release, and its thirty minute assault on your senses is not something you will soon forget.

Take the opening title track.  It begins very pleasantly with a slightly discordant guitar line which, coupled with clean vocals, would not be out of place in a lovely ballad.  But one minute into the song underlying tension is introduced behind the guitar, and twenty seconds later the sound of amplified guitars and booming electronic drums explode out of the speakers.  The sonic tension is ratcheted down for a moment before the demented vocals strike, slithering into the listeners’ ears and ensuring that no one mistakes this for a pop song any longer.  Oh no, this is definitely black metal!  Black metal with an inventive sonic blueprint, that is.

Rest assured dear waveriders.  The rest of this EP/album does not disappoint.  In fact, I’m transfixed every time that I listen to this music.  “The Night After” could find a happy home in dance halls with its propulsive backbeat as long as the mood of the hall was somewhat gloomy.  “Hear Them Whisper II” transitions back and forth from pretty keyboard movements to grungy, atmospheric portions driven by the same drum pattern as Nine Inch Nails’ “Closer”.  “December Nightingale” utilizes the most organic, non-electronic sounds on the album to great effect, and “Hear Them Whisper III” is…well…you’ll just have to listen for yourself to find out.

Head over to http://ghostfog.bandcamp.com, take advantage of the free download, and prepare to get your electro/black metal groove on!

--Penfold

Steve Cradock - Peace City West

 

On August 22, 1969, the Beatles held their last photo shoot at John and Yoko’s British home Tittenhurst Park before the band disbanded.  As the last Beatles’ shots were being taken in Berkshire,  9 miles southeast of Birmingham city center Steve (“Stephen”) Cradock was being born. 

On Cradock’s birthdate the Rolling Stones ruled the U.S. charts with their No. 1 smash hit “Honky Tonk Woman.” By Cradock’s first birthday the Beatles had disbanded and it had been almost a year since the Stones placed a single song in the top 40.  Yet, somehow, those early childhood memories of Beatles and Stones were to become central influences in Cradock’s music and his guitar playing.

Cradock did not perform publicly with a band until 1988 when, at 19 years old, he formed a “Mod” cover band called The Boys.  In 1989 he first met his greatest influence musician Paul Weller who then owned a recording studio where Cradock spent much of his time getting evicted while trying to get The Boys’ music passed on to record companies and agents. Their relationship blossomed in 1991 when Cradock returned to the recording studio with his new band Ocean Colour Scene that ultimately toured with Weller. 

Weller is known for his work with The Jam, a band that started by playing Beatles covers and some original music until 1976 when it charted with a number of new wave songs before they disbanded.  Weller and his work with The Jam are cited by many Britpop bands, such as Oasis, Blur and The Arctic Monkeys, as a major influence on their music.

Cradock’s music is a reflection of his upbringing and life experience.  His second solo album, Peace City West, is a British Pop music fans’ dream. It  features James Buckley from the cult TV show The Inbetweeners and collaborations with Paul Weller, Sally Cradock, Andy Crofts and P.P. Arnold.  The release echoes the Beatles and Stones music of 1969. 

Peace City West rocks fourteen tracks of 1960’s tinged rock that, according to The Cornershop, was “recorded over a fortnight at Deep Litter Studios - a barn on a farm at the most southern most point in Devon.” The album is rich with the same mix of country, rock, skiffle, new wave, and psychedelia styles that were exhibited by Cradock’s greatest influences. Peace City West is also a very personal record, For example, Cradock says about the track “Only Look Up When You're Down,”

“That was written for my mum because she hasn't been well but it can be taken in general terms as a way to look at life. I didn't want it to be too maudlin.”

Other songs on the album run the entire gambit of the classic late 60’s sound from the Dusty Springfield-like “Steppin' Aside” to the Kinks-inspired guitar riff on “Last Days Of The Old World,” Cradock will have you thinking bell-bottoms are back in style.

It is not just the music that is inspired, it is also the lyrics.  Check out this gem of a couplet:

“Put on my flairs, cos I’m just a boy at heart...My scooter sits idle just like my bible.”

It is a type of writing reminiscent of John Lennon.

Peace City West is a cycle of life release and a renewal of sorts.  For the short 45 minute running time you will ponder - Is this what the Beatles would have sounded like had they stayed together?

- Old School

Katatonia - Last Fair Deal Gone Down

Y’know, it’s funny to me that I can have albums sitting in my collection for months, nay . . . years, before I recognize their brilliance. Waveriders, I have a hidden gem for you, specifically if you like your music dark, moody, and dipped in a healthy coating of depression, and draped in a heavy layer of gothic fabric. Katatonia’s Last Fair Deal Gone Down has been in my collection for a few years by now, though originally released in 2001 through Peaceville, and for some unknown reason, it didn’t immediately resonate with me. Maybe I was too happy when I received it, maybe my life was too good and shining with optimism. That’s not to say that my life has changed all that much now, but there is an air of uncertainty surrounding me these days that makes my perspective a little on the darker side. So . . . maybe that’s why this album suddenly makes sense to me, why Last Fair Deal Gone Down has inexplicably spoken to me more than the cheery and shimmering hits of the summer. I don’t know . . . it’s always a mystery. That’s one of the reasons I write these things!

For those not in the know, I stumbled on Katatonia a number of years back with the release of their impeccable Viva Emptiness album, an album filled with such darkness and somber violent intent that I fell in love with the band and haven’t looked back. The band’s music has depressive tones to it and there are many times that I imagine a cartoonish storm cloud lingering over my head threatening to douse me in cold rain. The emotions are turbulent, the mood dampened, however, tucked somewhere in these dreary tunes is this wandering ray of hope that we, as human beings, must cling to if we have any inclination to return to a world of sanity. The musicianship, especially in the guitar work, has an effervescence to it, in that, one guitar will lay down a foundation of sustained distortion while the second guitar comes along and adds flourishes of single note texture that creates a sweeping contrast of mood. In the meantime, the rhythm section holds a steady circling pattern for the guitars to work their magic. Oh . . . and let’s not forget the vocal work of Jonas Renkse . . . otherworldly. The man has a way of conveying his despondency that sends chills through my being.

Ultimately, I think what makes Last Fair Deal Gone Down work so well is the way the band crafts their songs with a combination of compelling melodies and heavily aggressive rock. Face it, without the haunting melodies, the songs would come across as one dimensional. “We Must Bury You” starts off with this morbid tale about the protagonist kicking the crap, and ultimately the life, out of somebody. Dark, right? But the lyrics that make up the verses don’t carry the emotional impact without the melodic chorus and the plaintive croon from Renkse as he recites, “We must bury you” . . . almost with a sense of panic, a need to hide the crime of the murder. One can almost imagine the scenario as this group of guys are standing over a broken and beaten body, not so much speaking the words, but communicating with their eyes and thoughts that the body must be disposed . . . somehow. And then, the second verse and the remorse, the begging for forgiveness . . . fuck! Dark and powerful! Follow that song with “Teargas” and Christ! Tracks three and four are an emotional rollercoaster! That sudden burst from the band as the guitars lay down a texture passage through the darkness . . . the sheer intensity that suddenly evaporates into the Renkse led vocal work. I love how his voice steadily gets stronger through the verses and then, by the time we get to the chorus, explodes into a haunting melody of sadness and personal tragedy of love lost.

“Tonight’s Music” is pure dark magic! The soft guitar work that opens the track is so fragile and is reflected by the vocals as they creep into the mix . . . like Renkse is well aware that if his vocals were any louder that the riff would be damaged. What Katatonia do probably better than any other collection of songwriters is they balance the light moments with dramatic movements of heaviness, and this song is a perfect example of that. The verses are so fragile, so vulnerable, but then it’s like the cracks suddenly begin to appear and spider web across the mind’s eye as the chorus erupts. So filled with passion and emotion, so vibrant and charismatically expressive. But, that’s not to say that the band can’t rock out heavily throughout a track either. “Clean Today” is a heavy guitar driven psychotic breakdown waiting to happen. Bitchin’ drum work, elaborate guitar textures, and vocals that are more filled with confidence, one of the lone moments where the sun seems to want to break through the dense fog rather than submit to its captivity within the clouds of despair. 

“The Future of Speech” is one of those dramatic moments in rock sound where the keyboard textures create wondrous soundscapes for the guitars, bass, and drums to wreak their havoc. The vocals are superb throughout . . . evoking physical reactions and that voice! Man . . . just beautiful! Then there’s Passing Bird” . . . I’m not even sure what to say about this track. It’s just one of those songs you have to hear, and then it’ll become a part of you. You’ll sing about the girl with the black hair and the black dress. The vocal works is fantastic and something that you’ll have to key into, not because you necessarily want to but because you’ll be forced to. The power of the vocals allows the guitars to play a more subtle roll, but then . . . then they explode and surprise the hell out of you coz’ they just seemed to linger in the shadows. Almost like you forgot they were in the song because you were so keyed in on the lyrics and the melody, but when they do jump out of those shadows, there’s no forgetting them. It’s that complimentary roll that all of the instruments play with one another that keeps the music ultimately interesting.

Every song on Last Fair Deal Gone Down is a keeper, there’s not a throw away track on the album. If you’re one of those new found Katatonia fans and you’ve been on the fence about this album for any reason, please . . . I hope my words will suffice as a fair assessment that you should have very little to no doubt that this record will be a welcome addition to your life. I don’t necessarily think that you need to be in some dark place to get this album, to truly understand it . . . you simply need to have a greater understanding of your own emotions. The songs are crafted around the listener and their ability to feel, and each song has the ability to move the listener to tears, send the listener to an inner place of reflection. For those hoping for more a hard rockin’ album, eh . . . Last Fair Deal Gone Down doesn’t rock in the traditional heavy metal sense, however, that’s not to say it’s not heavy. It’s texturally heavy, it’s emotionally heavy, it’s not necessarily sonically heavy. Again, really wish I had found this album earlier in my life. It’s too good to go through life without.

Of final note, apparently this is the 10 year anniversary of the albums original release, so you should be able to find a deluxe re-issue package of the album here, there, or wherever. Sage advice: Go out and buy it.

--Pope

Buy here: Last Fair Deal Gone Down
Buy here mp3: Last Fair Deal Gone Down - 10th Anniversay Edition
Buy here vinyl: Last Fair Deal Gone Down [Vinyl]

http://katatonia.com/

More Revenge of the Quick Ripple Bursts - Featuring Joan of Arc, Occult Detective Club,Lights from Space, Maria Rose &The Swiss Kicks, Roll Acosta, and Downcast Theory

Joan of Arc – Life Like

Has it really been a year since Joan of Arc released Flowers?  And Boo Human a year before that?  Has Ripple really been around that long?  Yes, it has, so this makes the third time a Joan of Arc disc was hauled into the Ripple office by postman Sal, and the third time I fell under the intensely unique spell of mercurial front man Tim Kinsella.  With regard to Flowers, in my review I commented on how the album wasn’t an “easy listen” at least not in comparison to the extremely melodic Boo Human.  Little did I know that Flowers would sound like Top 40 pop compared to Life Like.  Ever reaching, ever expanding his musical template, Life Like definitely needs to be filed under challenging.  From the off-time, often-changing, oft-kilter angular assault of “I saw the Messed Binds of My Generation” Kinsella starts the album with 10:43 of stabbing guitar mayhem, loosely married to a beat and a rhythm.  That he manages to keep this discordant intro fresh for the whole 10 minutes is a testament to his genius.  Crashing waves of mayhem fall away to gentle, beautiful passages just in time to keep the ear trained.  Other places, Kinsella dismisses the simple pop of Boo Human to explore his own netherworld of agit pop and acute angles.  “Love Life,” is a hyper-kinetic, changing scenery of pop touches, “After Life,” is a military beat, call-and-response plaintive call, while “Deep State” sinks into some alternative funky post-Minuteman cum punk torment all it’s own.  Somehow, melody always finds a way to emerge and breathe the necessary oxygen into each song before we’re left dying on the vine.   As I said, challenging, but satisfying.  Not an album for the faint-hearted, but definitely worth hearing if you’re inclined to following madmen as they joust at their windmills.



Occult Detective Club – Crimes

Real late 70’s, early ‘80’s punk rock in the vein of real early Clash or the meth-energy of early Ramones.  Three chords played crisp and clear and fast and mean.  Bass pounding underneath like a big brother pounding your skull for knocking up his kid sister and a drum beat that’s simply mad at the world.  Two minute time bombs of blitzkrieg bopping and a vocalist who adds just the right flourish of phlegm to the proceedings.  As long as kids keep having parents, school, jobs, and girlfriends, true punk will never die.  Good, solid, mosh pit fun.



Lights from Space - Six Song Set

Don't judge a band by it's cover, or in this case it's name.  Don't know what the lads were thinking when they named themselves Lights From Space, but to me it conjured up images of some spacey alt rock or wankerfest in the Silversun Pickups vein.  Not what we got here at all.  Sure, it's modern rock, but this little six song ditty rocks in the classic Jet, Supagroup, or Mardo vein.  Chunky guitar riffs plow us through "She's the Kind."  Modern rock rears its head in "RNR" with it's angular, squealing guitar hook, but the boys infuse the whole thing with extra adrenaline and hooks to keep it ever from becoming fey.  "Policies" brings on the darkness of a monstrous bass-laden riff.  "Hate Your Style," adds a punky tone a la Attack Attack UK, and  "Zombie" flat out destroys everything in this well tuned retro-surf garage.  All kinds of rock, wrapped up nicely, given a home and (mis)name.  But it's all good.  Seriously good.

Maria Rose & The Swiss Kicks - New Direction

I don't know what the old direction was, but the new direction is heading in the right way.  Maria Rose and her Swiss Kicks plow an electro/soul field with a ripe harvest waiting for the downtempo connoisseur.   "Velvet Cabaret" captures immediately with it's mellow reggae vibe  . . .and is that an melodica, a la Augustus Pablo?  Probably not, probably a synth, but it's real nice, giving the song that reggae/dub vibe.  Maria's voice itself is a captivating, expressive instrument, slightly nasal in tone and perfectly set for this smokey ode to a stripper looking to start a new life.  Really nice stuff.  "Pineapple Wine," is planted with the same downtempo vibe, adding a touch of a rhumba/brazillian beat a la Astrud Gilberto.  "Siren Song" brings on a theatrical vibe perfect for a late night cocktail and tale of woe.  "Angel Face" reminds of Portishead or Tori Amos.  All of it's sultry, all of its moving, and all of it's great for that late night come down.   Tune in.  http://mariarosekicks.bandcamp.com/

Roll Acosta - The Dawn EP

Another offering from the mellower side of Ripple, Roll Acosta isn't quite the rollercoaster ride of emotions that the band name may suggest.  Rather this is heartfelt, earnest singer-songwriter in the vein of John Mayer or even the Dave Matthews Band.  A three-piece from Arizona, with vocals/guitar, violin/mandolin and drums, you can imagine Roll Acosta give an eclectic sound. What you may not anticipate is the power of their melodies or the hint at darkness that hangs like a pall over these songs.  "Beating on the Door" is the most rocking of these tunes bursting out midsong in a powerful chorus that reminds me of the Proclaimers, which is a pretty cool thing.  "Whirlwinds" has a melody and chorus that can only be described as beautiful.  Simply beautiful.  With it's windswept barren arrangement and mournful violin, this conjurers up images of Calexico in all the right ways.  "The Dawn" is as uptempo as this EP gets and benefits from great dynamics, and hooks, and Jacob Acosta's best vocals.  A great alt pop song, evocative, innovative and moving.  Words which could also be used to sum up Roll Acosta.  A great alt pop band. 

Downcast Theory - S/T

After a couple of mellower bands, it's time to get back to the heavy stuff and Downcast Theory are just the band to bring the hammer back down.   Bulldozing headlong down the nu-metal highway, passed the wreckage of Cold, Drowning Pool, and Powerman 500, this 4-piece blast it out with a heaping dose of honesty and chops.  I took one look at the kids in this New Jersey band (average age looking fresh-faced and recently graduated) and wasn't expecting this level of musicianship.  I mean this guys rock.  Sure, it may not be the freshest sound out there, but they mix in enough neo-prog flourishes, time changes, melodic hooks, and pure-out balls to make it all hang together and take off.  "Forgotten Within" is a beast of a track, that in a perfect world would knock any memory of Nickleback out of the world's consciousness.  "In Need" terrorizes through its chugging riff to a killer chorus.  "Isoloate" brings in a near-Tool-like essence to it's midtempo intro before exploding into a fury of a ferocious nu-metal temper tantrum.  Any critique would be that too many songs utilize the slow intro building to chaos middle formula, but I bet as the guys keep it going they'll move passed this.  A band to watch.  Their future looks bright.

--Racer

Occult Detective Club


Lights from Space


Roll Acosta



Downcast Theory