Monday, October 31, 2016

Japan’s sonic death sludge masters SITHTER to release new album Chaotic Fiend | Stream and share new song ‘Masque Of The Black Death’


Sithter on Facebook | Web | Twitter | Soundcloud



Originally formed in 2006 under the name PsychoToBlack, after numerous personnel changes, a handful of filed missing person reports and a ritual or two in the black arts, Tokyo’s Sithter eventually emerged, dragged into sunlight.

Influenced by the traditional sludge metal of bands like Grief, Eyehategod and Buzzoven, after leaving his previous outfit MONE¥I$GOD in 2007, guitarist Hyö "Noise Fucker" Kagawa brought with him experiments in doom and dark psychedelia, alongside drummer Takefumi Matsuda and vocalist/guitarist Hiroyuki Takano. Completed by the arrival of newest member Wahei Gotoh on bass in 2013 – kidnapped from the heavy cosmic rock band Dhidalah – the quartet quickly became masters of the “Sonic Death Sludge” sound.

Following the release of 2009’s The Last Temptation EP, their first full-length album Evilfucker on the Russian doom label Bad Road Records and a split with Seoul-based death metal trio Gonguri last year, this December will see the release of Chaotic Fiend on Bonten Records. The inaugural taste of which can be sampled via the track ‘Masque Of The Black Death’, a poisonous and molasses thick assault on all senses.

Sithter also tour Japan this November with Serbian doom rockers Heretic Rites (for the full list of dates see below) ahead of the release of Chaotic Fiend on 9th December. You can stream and share new song ‘Masque Of The Black Death’ here and pre-order the album directly from Bonten Records via https://bontenrecords.bandcamp.com/album/chaotic-fiend

Japan tour with Heretic Rites:

23 Nov – Sendai Bird Land w. Magdalene Junen, Bergrabnis + More
25 Nov – Higashikouenji 20000V w. Magdalene Junen, King Goblin + Zothique
26 Nov – Oosaka Sengoku-Daitoryou w. Magdalene Junen, Necromantics, W.D.L.K. + Hemipenis
27 Nov – Nagoya Red Dragon w. Magdalene Junen, Vomit Monster, Viollante + Stone Banquet
29 Nov – Yokohama El Puente w. Su19b + Floaters
30 Nov – Shibuya Ruby Room w. Khola Cosmica + Dhidalah
Sithter:

Hyö Kagawa – Guitar
Wahei Gotoh – Bass
Takefumi Matsuda – Drums
Hiroyuki Takano – Vocals, Guitar
Track Listing:

1. Chaotic Fiend
2. I Drink Your Blood
3. Smoke Demon
4. Masque Of The Black Death
5. Lost Flowers
6. Empire
7. Punisher #13
8. Engrave The Misery
9. Jerusalem Axe Massacre

Artist: Sithter
Title: Chaotic Fiend
Release Date: 9th December 2016
Label: Bonten Records
Formats: CD/Digital

AL KRAUSE TO RELEASE DEBUT LP “TALE TO TELL” ON NOVEMBER 4TH




Illinois-based songwriter Al Krause recently announced the official release of his debut LP, entitled Tale To Tell for November 4th, 2016 on Noble Steed Music.  Krause, age 52, began writing in high school but didn’t pursue a music career until later in life.  After raising a family, sending his daughters off to college and a successful career in business, he decided it was time to reinvigorate his creative side.


For this project, Krause rallied together some close friends to contribute to the cause.  In fact, all of the tracks on this record have been sung by other artists.  Four of the eight tracks on Tale To Tell were performed by Tony Lucca, a singer/songwriter best known for his run as a cast member on The All New Mickey Mouse Club, finalist on Season 2 of The Voice, and touring with the likes of Maroon 5, Kelly Clarkson and Sara Bareilles, among countless others. Additional guest vocalists on Tale To Tell are Paul Pfau (Nashville-based singer/songwriter and contestant on Season 8 of The Voice as a member of Team Pharrell), Matt Duke (Philadelphia-based singer/songwriter), Hey Monea (Hard Rock Live-winning rock band) and Michael Pearsall (lead singer of Washington DC-based rock band, Honor By August). 


The LP was produced by Lucca and Brian Fechino (Sister Hazel, Pat McGee.)  Additionally, all of the songs were co-written by Krause with an assist by Jason Spiewak and Tony Lucca.  Spiewak served as President at Rock Ridge Music, a Warner Music-distributed record label and management company he co-founded in 2004 before establishing JLS Artist Management in 2013.  He is also an accomplished producer and songwriter, whose production credits include “Lost Souls Like Us” (The Benjy Davis Project- 2010), “Live from the Southland” (Pat McGee- 2009), and “Starting Over” (Ernie Halter- 2008).


Krause had this to say about Tale To Tell:


“Historically, my inspiration would just be whatever; the setting sun, a commercial, a pretty smile, a glimpse of lingerie, a dress, a walk down a dark street in a rough part of town, falling from a bar stool.  But for about the past 18 months, I’ve been a member of a songwriting group where we’re given a phrase each Monday and must compose a song, or at least part of one, and submit back to the group by the following Sunday night.  Each of the 8 songs on the current project is a product of the songwriting group.”


He also added the following:


“I think it’s important for the listener and fan to impart their own message and experience to each song.  Sure, it’s cool when you know what the artist was writing about or what their inspiration may have been, but the songs that I’ve loved and enjoyed were meaningful to me because of my personal connections and experiences related to those songs.  But whatever listeners and fans take from each song, it will be because I write about what I feel and think and know and imagine, not because it’s popular or en vogue or even correctly structured.  My songs have varied themes, but mostly focus on relationships (real and fictional), dreams and fantasies, but also incorporate much darker themed topics touching on addictions and nightmares and a kick-ass, but mentally messed up super hero.  Even the love songs tend to lean toward a darker side of yearning and desire.”




Tale To Tell: Track Listing


    State of Emergency (featuring Tony Lucca)

    Upswing (featuring Michael Pearsall)

    Yes I Do (featuring Tony Lucca)

    Count Me In (featuring Hey Monea)

    Tale To Tell (featuring Tony Lucca)

    Nervous Energy (featuring Matt Duke)

    Five Minutes (featuring Tony Lucca)

    Everyday Miracles (featuring Paul Pfau)

Sunday, October 30, 2016

A Sunday Conversation With. . .Oscar (Guitar and Vox), Joey(Bass) and Hernan(Drums) from The Rare Breed




When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphany's since then, when you come across a band that just brings something new and revolutionary to your ears.

What have been your musical epiphany moments? 

JC: first time i heard sabbath bloody sabbath, it was my pre-teen angst and ever asking questions answered in one album.
OD: Hearing War Pigs opening chords while the siren weeping in the background before I ever even knew who Sabbath was. That was game over for me.
HR: Funny enough, it was actually when I first learned my first "hard" song. And Oscar was learning the same one. King Diamond's "Invisible Guest" broke countless stick, bloody blisters and just frustration. But finally getting it down and actually playing it together with Oscar, was that moment when I thought... Man, that was good.

Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?

JC: Most cases it all starts with a riff that Oscar comes up with, presents it to us and we usually just jam it out. That's kinda how the music is written but the lyrics are drawn from moments in time. We usually have a word or a lyric and I just write around that. It can be anything from love, witches and uh... out there shit. 

Who has influenced you the most?

JC: For oscar and I, it's the obvious BLACK SABBATH. It's always been our go too when it comes to how to jam, write and overall structural feel.
HR: I kinda grew up with more of a heavier background, so my influences are similar but very different at the same time. For me, it was more Mikkey Dee from King D and Motorhead, Nicko McBrain from Maiden and Ian Paice from Deep Purple.

Where do you look for continuing inspiration? New ideas, new motivation?

JC: Anything that motivates us to write the gnarliest shit. But also not to stray too far away from the original stuff that inspired us, because it's kinda the DNA of our musical beings.

We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?

OD: Hometown is Los Angeles, we're all kids from immigrants, born and raised here. So it all kinda feels like we have to find our own identity in the cultures that are presented around us. There's a lot of gang cultures, a lot of gritty street happenings. In seeing that, it's not something we wanted to be part of but it was definitely something we witnessed everyday. So that makes the music aggressive in a  laid back way and also pretty in the ugliest way.

Where'd the band name come from?

JC: So I was reading the back of a cereal box when it hit me... haha
It's a secret that's not so secret so let me let you in. The band that Geezer and Ozzy met was called "Rare Breed". Half of that band met up wit a band called "Mythology" (Tony and Bill) and that obviously little band called "Earth" haha so it's just a homage to that.

You have one chance, what movie are you going to write the soundtrack for?

JC: The movie of our lives.

You now write for a music publication (The Ripple Effect?).  You're going to write a 1,000 word essay on one song. Which would it be and why?

JC: For me probably sabbath bloody sabbath. It has a lot of lyrical meaning not just to the events of their (sabbath) lives but it just always said a lot to me, like they understood me and my thoughts. So like any great song it makes you feel like you aren't alone... kinda back to that beautiful disaster mind set.
HR: For me it's simple, King Diamond's "Puppet Master". I would just word for word plagiarize that.
OD: It'll be between Achilles last Stand, Ten Years Gone, and the Rain Song what does songs represents to me and what they mean to me a kind go on writing a book about. 
Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

JC: I guess nothing ever goes as planned. We've had strings snap, sticks break, dropped sticks, off tune, getting to the venues... Always some crazy shit. But it's Rock n Roll, gotta roll with the punches. Nothing to hilarious, yet...  

Tell us about playing live and the live experience for you and for your fans? 

JC: We've always felt that we're more of a live band than anything else. Meaning, we' go hard, nothing goes as planned, we enjoy the unpredictability of not just the jam but the crowd reaction, cus sometimes there's only three people in the crowd but those three people is all we need sometimes. It's all recycled energy, kinda like a big spirit bomb. haha

What makes a great song?

OD: In the sense of music writing, hooks and jams. But at the end of the day, feel. What it makes you feel, what it makes us feel.

Tell us about the first song you ever wrote?

HR: The first song we wrote as a band, is surprisingly the one that gets talked about the most. We say surprisingly because we feel we've grown a lot in our song writing process. Not that the song doesn't rule. Oscar had the bare bones and Joe and I brought that bitch up, gave it some life. 

What piece of your music are particularly proud of?

JC: The controlled chaos of our jams.

Who today, writes great songs? Who just kicks your ass? Why?

JC: Uncle Acid. I think we can all agree, that's a main reason The Rare Breed got triggered to hop on the happening music scene. The killer hooks, something eerie and different but somehow very familiar.

Vinyl, CD, or digital? What's your format of choice?

JC: Hernan and I both agree that CD is for us. Though we love the vinyl sound more than anything, we're always out and about, driving somewhere, a good CD you can just take anywhere with intimacy. Cus how many times, on a long drive do you get stuck with that one CD and you find new appreciations. Just you and a CD.
OD: Vinyl man. That warm sound.

Whiskey or beer?  And defend your choice

TRB: BEER! Cuts we're a bunch of alcoholics but we like to party all night. And usually gotta be up in the morning. At least with beer, we got a chance of waking up.

We, at the Ripple Effect, are constantly looking for new music. What's your home town, and when we get there, what's the best record store to lose ourselves in?

TRB: Obviously the big boy, the last major one standing Amoeba. But we actually have a good one right around the corner from where we live called Atomic Records.
What's next for the band? 

HR: Try and take over the world.
JC: Jam
OD: Always writing, always new music.

Any final comments or thoughts you'd like to share with our readers, the waveriders?

TRB: To quote the immortal words of the blessed Neil Young... Keep on rockin' in the free world!

Saturday, October 29, 2016

Mandatory Vinyl: Tiebreaker – Death Tunes

Where do I start with Tiebreaker? First off, I had no idea who these guys were, never heard of them in my life until just recently when, as usual, an acquaintance sent out a recommendation for them online and the notification of the pre-order to the new album Death Tunes. With one track streaming and one previous album available to stream, the wishlist was overflowing with excitement. They appear to have been around a few years and although they are definitely not widely known from what I can see online, they are definitely worthy of a listen. Also, the album is available on vinyl, which begs the question, is this a mandatory addition to your collection? 


Death Tunes is the second album by the Norwegian rockers and a follow up to their debut We Come From the Mountains released on Karisma Records in 2015. Death Tunes continues on the deep throbbing passion for the almighty riff accompanied by some of the finest vocals I’ve heard in a long while. Vocally, Thomas Espeland Karlsen belches out a range of ardent cries paired with melancholic rasps of fury in the form of a concept album of sorts with ‘Death’ as the focal point. Don’t worry though; we’re not talking death metal or anything like that. The energy is potent and the vibes are rock and roll to the core.  

Highlights include, Anywhere But Here which bursts with arioso charm and sentimental bluesy grace. Tactful licks construct a mind boggling array of rhythmic seduction throughout its 3:20 length.  Rather than existing as a total standout track, Death Tunes continues on as each song surpasses the fallacy that the previous track could not be topped. The Deep rides the heels of Anywhere But Here rather seamlessly, erupting into a 1-2 guitar crunch swooning with heartfelt vocals and brimming with progressive soul.  Building Up to Die slows things down with a thunderously robust intro building a chorus line progressing like an expedition to the summit of Everest during a deadly storm.

Killer kicks off with a rocking melody intact with screaming guitar chops and powerhouse drumming. Again, the theme remains, death is in the air, along with killer riffs and ground shaking rhythm. Blues-based solos attack toward the latter half of the song increasing with vigor closing the song down with a fatal array of guitar strummage. 


Float Away drifts along with another catchy beat, added soulful crooning exposes the gravel within Karlsen’s vocal bar, and the 70’s vibes sweep along like tumbleweeds breaking over a sand dune.
The album closes down how many great albums do, with a 9 plus minute opus. Heavy Lifting is not only heavy; it’s a testament to the retro-blues inspired song craft of our time. The arrangement, harmony, tone and overall bite of the song are strong enough to stand the hairs on your neck on end, and do each and every listen.  Taking on an almost opera esque format, Heavy Lifting is subtle yet powerful, and fortifies the album as Mandatory.
 
Mandatory Vinyl for the sake of this feature and yours for the taking. I now concede and pronounce another esteemed recommendation from me to you. The debut album is magnificent as well. For fans of all things heavy and 70’s, MC5, Rival Sons, Deep Purple, Hellacopters, etc….  I don’t want to remain one of the only vinyl supporters on the bandcamp page. Currently I am one of 3 supporters who maintain bandcamp profiles and the only one who purchased on vinyl. Let’s make that change.  Send us pics of your record when it arrives. I trust you’ll pick it up.

-The Huntsman



Friday, October 28, 2016

Noisecult - Burial Hymns

 



One of my favourite Nashville bands, heavy-hitters Noisecult, are back with album number six, Burial Hymns. And it is a delicious bag of assorted goodies they present. Sex new songs, six re-recorded songs and one cover is what's on offer and I love it. Don't know if my psychic abilities are on point or not, but to me the title suggests the end of an era and the beginning of a new. The new stuff on here show that Noisecult has found their way. At the same time, re-doing songs from their first three albums, all out of print or very close to it and will never be released again, tells me the band is ready to move on and continue to build on the path they have found. Therefore, 'Burial Hymns' closes one door and opens a new.

Starting off with five of the new tracks, Noisecult goes from strength to strength. The ballsy mix of Motörhead, Slayer, punk and good ol' metal has been honed to perfection with a really rich and full production to match. Opener 'Slipping Away(Into The Night)' is Slayer-ish in approach if Phil Campbell played guitar for them. 'Extermination Blues' is a straight-in-yer-face snarly punk-tinged metal track which leads into a trippy second half. 'Rollin' With A Fu Manchu' is a short sharp shock and kicks some serious ass in a Motörhead/Stoner fashion. Lurking and menacing 'Black Tide Rise' seeks annihilation and that's what happens. Mid-tempo for the most Noisecult crushes with the heaviness they unleash. 'Bunúsach' closes out section one and it is a short bass guitar-only composition which works as a great intro to '(At The) Gates Of Eternity', the first of the re-recordings.

This second block is made up of five of the new versions and they are basically redone from scratch with the exception of 'Swarm Of The Electric Death'. Only the vocals and the bass guitar are new with some touching up done the guitar on that one. Sound wise what I like most about them - 'Just Another Blackout', 'Never Meant To Die' and 'SHeviL' makes up the five -  is how well they've made the transition to Noisecult's new-found direction. The playing is light years better than before as well the production which of course heightens everything. But having brought this older material together to sound much more cohesive is the key too. And to me that is real talent within any band. To take your older material and change things around a little bit making good stuff sound even better is not an easy thing. Noisecult has done that and then some. It's always great to hear '(At The) Gates Of Eternity' and 'Swarm OF The Electric Death', on album and live, but these new versions are killer!

The third, and last, part of 'Burial Hymns' consists of newbie 'Violent End', oldie 'End Of Days' and a cover of Beastie Boys' Gratitude'. And it's an amazing way to end this wax. 'Violent End' is criminally short but brutal! Slayer on speed playing is as close as it gets and it's not even two minutes long...badass! The redone version of 'End Of Days' is on point and is the same thrash metal song it always was but with such nice full sound. Very good indeed. Beastie Boys' 'Gratitude' turned out really good. The Hammond B3 makes a great addition turning the song into a modern day take on 70's classic rock. Listen to the very end and you'll hear THAT famous bass line...

If you have never heard Nosiecult before 'Burial Hymns' is the perfect introduction. You'll hear the band the way that are supposed to sound and it will only get better from here. For someone who has followed them for a while, this album is the logical and natural step. Having never stayed stagnate, they have always retained certain traits and shaped them along the way. And the end result is 'Burial Hymns' and it doesn't get much better than this. Greatness, indeed!

- Swedebeast

Thursday, October 27, 2016

Year of the Cobra - ...In The Shadows Below

THIS!!!

Wait, what? Racer said my reviews could be as long or as short as I wanted them to be, and that one word right there is all you need to know about this album. You want it, you need it, go buy it. End of discussion.

Ok fine, I'll talk about this new release a little bit more, but only because it really blows me away. If you are familiar with Year of the Cobra and their debut EP, then the first thing you will notice is that Amy Tung-Barrysmith's vocals are just leaps and bounds ahead of where they were on that recording, and they were pretty damn good on the EP. There is just so much more nuance and expression in what she is doing on this album. They say that bands really improve the more they perform and these songs are a testament to that. She has learned how to make her voice a top-notch part of what this band does.

If you aren't familiar with this band, its just two people, drum and bass, that's it. You will listen to these songs and you will swear that there is at least one guitar in there, if not two at times, but there isn't. The creativity shown by Amy in using her bass rig to bring so many parts to life in these songs is really fun to listen to. And Jon Barrysmith on drums holds up his end very nicely. I especially like his work on “Spider And The Fly” and “Temple of Apollo”. There is a lot of complementary playing, working off of the bass lines and putting just the right little fills and rhythms in place that move the songs along very nicely.

If you're wondering what they do, its doom. Some of it is right from the traditional doom playbook, but a lot of it isn't. There's even some nice thrashy sounding parts in “Persephone”, as if to show us that these two have lots of weapons in the arsenal. My favorite song on the album is “Vision of Three”. Its a nice slow build that relies on the drums to do the build up, and then pulls back nicely on the verse parts of the song. The lyrics are very cool, the playing is outstanding all the way around, and it is a joy to listen to. Who says doom can't make you feel you feel good? I never said that.

This is an amazingly good first full-length from a band that is growing and improving and has much more to say and show us. The album will be out at the end of the month on STB Records in various formats so make sure you get a copy in your hands. Go see them when they hit the road because their live show is something to behold, seeing two people bring such a full sound to the stage. This is definitely a band to watch, because they are going to be Godzilla-sized heavy in no time at all, and you'll be glad you got in on the ground floor.

-ODIN



Wednesday, October 26, 2016

On the Ripple Desk: Featuring Bridesmaid and Ruin

Bridesmaid - International House of Mancakes

Coming on like your creepy uncle's porn collection somehow got mixed up with your Black Sabbath albums a bottle of lube and a suitcase of rather scary looking sex toys . . . . and surprise, surprise, they enjoyed it!  Full on sleazeoid, stoner doom, with throbbing members, and pulsating beats -- ok, enough porn jokes.  Take it for what it is, some seriously heavy, instrumental doom, comprised of two bassists and two drummers, a mouthful of puns and a sense of humor wicked enough to have them dressed up like the Village People on a cover homage to Destroyer. 

Not serious dudes, but some very serious riffage.  Put it on and lose yourself.





Ruin - Fiat Lux

 A hardcore, Buddhist punk rock band might seem like just to many contradictions to stand on it's own, but somehow Ruin manage to pull it off.  From their bio info, I learned that Ruin was more than music, it was a propaganda project . Students of the arts, philosophy and religion, doing lab work with music. Experimenting with a way to be activists for social and individual evolution.  Founded in 1980 by Dr. Glenn Wallis, (then a religious studies’ undergrad), Ruin was ostensibly a model “old school” hardcore “punk” rock musical group. This model was characterized by hyper speed rhythms, banshee lead guitar, raging vocals and ideological lyrics. Ruin achieved headliner status locally in Philadelphia’s mid sized music halls. Live, they experimented with noise, genre bending, pamphleteering, theatrics, and audience participation.

Now what we have left are two albums of pretty tasty punk.  On this album from 1986, Fiat Lux sounds a bit more "rock" with a punk snot, like an early Replacements or Soul Asylum.  But I found this for $1, so for that, it's definitely worth a pick up.

--Racer



Tuesday, October 25, 2016

MELTED SPACE: French Metal Opera Act Announces Upcoming Remix Tracks And Official Video




[photo by Guillaume Bideau]

MELTED SPACE, the ambitious metal opera venture forged by French composer PierreLe Pape, has confirmed several new projects for the months ahead.

Following the release of the collective's debut album, The Great Lie, through Sensory Records in 2015, MELTED SPACE will now issue special remixed versions of several tracks from the album. After the most recent European tour the act took part in with Symphony X and Myrath, the live lineup decided to reconstruct and remix several songs with vocal contributions from the live crew from the venture. These three new versions will be remixed by Beau Hill ("No Need To Fear"), After Forever's Joost Van Den Broeck ("Lost Souls From The Other Side"), and François-Maxime Boutault ("Titania"), and mastered at Fascination Street Studio by Tony Lindgren.

Additionally, MELTED SPACE announces the completion of the act's first official video for the song "Titania." Directed by Rusty J. Matalou in a German Expressionism style, the new video should bring to MELTED SPACE a new visual dimension and extend Pierre Le Pape's musical universe to the outfit's fanbase.

Both the new remix tracks and the video will be released in October; stand by for further details.

MELTED SPACE's The Great Lie was entirely written and conducted by founder Le Pape. An incredibly powerful, layered masterwork, the album features an intense storyline with a wide cast of characters performed by guest vocalists, including David Vincent (Morbid Angel), Attila Csihar (Sunn O))), Mayhem), Mikael Stanne (Dark Tranquillity), Arjen Lucassen (Ayreon), Ailyn Gimenéz (Sirenia), Kobi Fahri (Orphaned Land), Mariangela Demurtas (Tristania) and other vocalists, as well as music by an all-star cast of musicians and the entire City of Prague Philharmonic Orchestra.

Stream The Great Lie HERE, and see the lyric video for the album's "Terrible Fight" HERE.

Orders for The Great Lie CD can be placed HERE, the hi-res 24 bit/96 khz digital edition available HERE and the standard digital available HERE and at all major digital retailers.




Monday, October 24, 2016

A Ripple Conversation With. . . .Brad Frye, guitarist and vocalist of Red Mesa



When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphany's since then, when you come across a band that just brings something new and revolutionary to your ears.
 

What have been your musical epiphany moments?

BF: Oh yeah, I grew up in household with soft rock radio in rural, coastal Maine.  My brother and I know the lyrics to so many shitty songs.  My first musical epiphany was hearing the the full version “Suzy Q” by Credence Clearwater Revival.  I was a boy riding in my parents car.  My Mom had it on cassette.  I didn't know that songs were longer than 3 minutes.  They do this long guitar solo and then jam out for another 5 minutes.  I was mesmerized.  I remember thinking, “I didn't know you could do that.” So that's what I do now. 

Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?

BF:  Generally our songs start with a riff.  I spend a long time working on riffs and progressions that 1) sound cool 2) don't remind me of any guitarist or band in particular 3) I can sing and play at the same time.  The next step is playing the music with the band, whether I brought in the idea or not.  We all need to get behind it.  We listen for space to have lyrics.  Start working out changes.  I then take the music home and start singing over it my car.  Working on lyrics and melodies.   I'd prefer to write music AFTER a song/melody.  But usually it starts with a riff.

Who has influenced you the most?

BF: Oh wow.  A lot of people.  It has changed through the years.  When I was 8, Guns 'N Roses “Appetite for Destruction”  came out and I played that over and over.  It was a great introduction to attitude and rock and roll.  I haven't listened to them for probably 20 years, but I recently heard that album and it is still killer.
In terms of playing guitar, Josh Homme from Kyuss and QOTSA has been a huge inspiration and influence to me.  Also, Brant Bjork (Kyuss, Vista Chino, solo stuff).  He is an underrated guitarist and wrote some killer Kyuss riffs and songs.
Toni Iommi is a massive influence for riffs.  David Gilmore for solos.  I'm not a shredder.  I prefer slower, psychedelic and melodic solo.
For singing, I love a lot people.  Singing got me into playing guitar so I could use it as a tool for songwriting.  I try to not sound like anyone, and just focus on my own voice. 

Where do you look for continuing inspiration? New ideas, new motivation?

BF:  Whatever is going on in my life and around me at the moment.  But try I focus on frustrations, sadness, anger, and desires to give them a release so I don't carry around a lot of negativity.  Music is a release.  There is a lot of suffering in life.  Music helps me deal with it.  That way I can evolve and be a positive and good human being. 

We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?

BF:  The band's hometown is Albuquerque, New Mexico.  We are certainly inspired by the high desert, with its great big blue sky and mountains.  New Mexico has a cool laid back feel to it. We try to get in a heavy groove and pretend we are outside playing under a desert sunset.  Duane Gasper our drummer, and Shawn Wright our bass player are both New Mexico natives.  They really embody the spirit. 

Where'd the band name come from?
   
BF:  Band names are harder to come up with than songs.  I believe it was a suggestion from an old friend  and guitarist we used to jam with before this band came to fruition in its current line-up as a power trio.  Shawn reminded us of the band name and it fit the best.   We wanted a band name that represented the high desert environment of New Mexico.  

Tell us about witchcraft, what it means to you and your life?

BF:  I don't know a damn thing about witchcraft.  I am, however, a spiritual non-religious person.  I have spent a lot of my life exploring nature and natural environments.  I believe you can benefit from some good things from getting outside and away from people.  I feel its important to find a quiet space.  To get away from everything.  There's a lot of wisdom life and nature can teach you.  There is a lot of wisdom your mind, body, and soul can teach you.  It's important to open up and listen to that. 

You have one chance, what movie are you going to write the soundtrack for?
   
BF:  I like movies that travel to beautiful landscapes.  If I had the opportunity to write a soundtrack that played off a movie about a hitchhiker or a backpacker traveling through epic landscapes, I'd be down. 

You now write for a music publication (The Ripple Effect?). You're going to write a 1,000 word essay on one song. Which would it be and why?

BF:  “Space Cadet” by Kyuss.  When I first heard that song, it blew my fucking mind.  I had always wanted to listen to something like that, but I had no idea where to find it.  I remember listening to it while on the bus in Seattle.  When that song came on, I got off the bus and just stood on the street.  I couldn't move.  I just stood there, and thought, “holy shit, this is fucking incredible.” 

What is you musical intention? What are you trying to express or get your audience to feel?

BF:  I want people to feel......... SOMETHING.  I intend for it to be a positive, powerful something.  And I want them to listen to the songs as a whole.  Not just a beat to dance to or some entertainer to watch.  For me, that's not what turned me on to music.  It was killer songs and albums.  I think in the underground rock community, the focus is on a quality product. 
The most important message I'm trying to send out is to be a cognitive human being.  Live life with an open mind, question any bullshit, be a great and wonderful human being.  And rock the fuck out.    

Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

BF:  I played an open mic at Pappy and Harriet's in Joshua Tree, CA. Which was super rad to play there even though it was an open mic.  Maybe one day we'll play a show there....!  But around 7pm, the local crowd all sits down and has dinner.  I decided to try out some new material.  I get up on stage and say, “You guys ready to fucking rock?!”  And start playing real loud and I look up and the entire bar is having dinner and chewing food.  And I was playing some aggressive music.  It totally didn't fit.  I felt that I was yelling directly at them while they were eating dinner.  I finish the first song and no one makes any noise.  No one claps.  They just sit there eating.  And I think, “Oh fuck, this is so awkward, I'm playing to an entire dinner crowd.”  I think I played a few mellow songs on an acoustic and then got the hell off stage.  Embarrasing.  

Tell us about playing live and the live experience for you and for your fans?

BF:  I love playing live.  We focus on making sure the overall tone and sound for playing live is really unique and balanced.  We take pride in having great tone. We play very loud.  We want the instruments to really stand out, but sound great as a whole.  We have been getting excellent feedback from our fans and from people who have just seen us for the first time.  It feels great to hear people tell us we have great tone. Also, it is very humbling to play live.  At least it is for me. I feel very humbled and grateful to play music live.  It is communication and expression on a different level. 

What makes a great song?

BF:  A great song, you feel it in your soul.   It just completely speaks to you and envelops you.  

Tell us about the first song you ever wrote?

BF:  I think it would be a song called “Gold Rush”  It's basically a country song on acoustic.  Hillbilly jam.  For me it is some form of rock and roll.  I've never recorded it, maybe I should. 

What piece of your music are particularly proud of?

BF:  Well, we finished recording our EP for Ripple Music.  It will come out on the Second Coming of Heavy vinyl compilation.  We are very excited about the songs on the EP.  It's gonna kick ass.  Due out December 2016.  Get yourself a copy!

Who today, writes great songs? Who just kicks your ass? Why?

BF:  The album that kicked my ass in 2015 was Wino and Conny Ochs acoustic album “Freedom Conspiracy.”  It has incredible songs, beautiful melodies and hooks.  Is very sad, yet gorgeous.  It really hit me in my heart and my soul. 

Vinyl, CD, or digital? What's your format of choice?

BF:  For convenience, its digital.  For sound quality its, CD and vinyl.  And for the experience, definitely vinyl.  Nothing like dropping the needle down. 

Whiskey or beer? And defend your choice.

BF:  Whiskey, hands down.  I fucking love whiskey.  Beer is fine, but its heavy and makes you slow.  You gotta consume a lot of volume to achieve the type of buzz I like.  I'm not a heavy drinker.  But I drink daily.  When I'm relaxing, its beer.  When it's time to perform, or go out for the night, it's whiskey.  It gets me fired up. 

We, at the Ripple Effect, are constantly looking for new music. What's your home town, and when we get there, what's the best record store to lose ourselves in?

BF:  Charlies 33's and CD's is really the only record store left in Albuquerque.  Cool old school record store.  Vintage and new vinyl. 

What's next for the band?

BF:   Our EP on the Second Coming of Heavy compilation will come out in 2016 on Ripple Music.  Be sure to grab a copy!  I believe we are on Volume 4.  In the meantime, we are slowly working on new music for a second full-length album. 

Any final comments or thoughts you'd like to share with our readers, the waveriders?

BF:  We truly appreciate everyone who seeks out and supports underground music.  There is so much incredible music being made these days, especially in heavy rock/metal.  And it's not easy to find.  We are being spoon-fed so much crap these days.  It's impossible to hear great music on the radio or on TV or on any popular, multi-mass media.  You gotta work for today.  It's sad.  But there is a movement of people around the world that know good music is out there and they are finding it.  So, thank you.    

Sunday, October 23, 2016

DOT LEGACY announce new album and tour with Truckfighters | Stream video for single 'Story Of Fame' with Rolling Stone and Classic Rock




Dot Legacy on Web | Facebook | Twitter | Soundcloud | Bandcamp | YouTube | Instagram

When Dot Legacy formed in 2009 in a Parisian basement, little did the fuzzed-out French quartet know that their seemingly unattainable dream to one day release albums, tour the world and share stages with some of rock’s finest was in fact anything but impossible.

Over seven years on and with countless gigs clocked up over several European and South American tours with the likes of Blues Pills, Mars Red Sky and Truckfighters, the band returns this November with To The Others, the follow up to their hugely impressive 2014 self-titled debut.

Inspired by the space race and mankind’s desire to discover, To The Others pursues two avenues of exploration; complete freedom of composition and collective creativity. Written by the band while on the road and recorded and produced by bass player/vocalist and Emmy Award-winner Damien Quintard the album not only captures the gain-addled fury of the band’s esoteric brand of “Energy Rock”, it also displays two distinct sides to Dot Legacy. The one side that uniquely seeks to experiment and weave multifaceted arrangements out of great ideas and impressive musicianship, and the other that simply aims to rock out and make you dance.

To support the release of the album, the band will be taking part in a massive tour with Truckfighters, hitting more than thirty-five European cites between September and December (For the list of confirmed dates so far see below.)

To The Others will receive a worldwide release on 25th November 2016 via Germany’s Setalight Records. In the meantime however follow this link to stream, share and watch the official video for brand new song, ‘Story Of Fame’ here  https://www.youtube.com/watch?v=KEofNzKkQI4

Download ‘Story of Fame’ by Dot Legacy via Spotify | iTunes | Amazon
Dot Legacy:

Damien Quintard – Lead Vocals, Bass
Arnaud Merckling – Guitar, Keyboard, Backing Vocals
John Defontaine – Guitar, Backing Vocals
Arthur Menard – Drums, Backing Vocals
Tour Dates:

With Truckfighters & Deville – Plus more dates to be announced soon…

25/11 – Koln, Germany – Underground
26/11 – Nancy, France – Le Hublot
27/11 – Paris, France – Venue TBA
28/11 – Nantes, France – Venue TBA
4/12 – Birmingham, UK – Rainbow
5/12 – Glasgow, UK – King Tuts
6/12 – Nottingham, UK – Rescue Rooms
7/12 – Bristol, UK – Thekla
8/12 – Manchester, UK – The Ruby Lounge
9/12 – London, UK – Islington Academy
10/12 – Brighton, UK – Green Door Store

ASTEROID return with new album | Stream and share new single 'Last Days' via Fuzzorama Records




For well over a decade, Örebro’s Asteroid has served as one of the leading lights in the heavy psych community. With a sound firmly rooted in the hard-hitting field of stoner rock, since their very first demo in 2004 the trio has constantly evolved, taking inspiration from American & British blues and Swedish folk music, while always finding something new to bring to the table.

Made up of guitarist Robin Hirse, bass player Johannes Nilsson and recent addition Jimmi Kohlscheen on drums, Asteroid trade harmonious vibes and melodious riffs with all who listen. Treading the same murky waters found in some of the more menacing moments of Led Zeppelin’s back catalogue, combined with their love for the tripped-out prog of Pink Floyd and raw energy of Howlin’ Wolf, Asteroid leave no rock unturned.

Having released a split record in 2006, two full-length albums with 2007’s Asteroid and the 2009 follow-up Asteroid II, and a 7” in 2012, after extensive back to back tours which saw the band average over a hundred shows a year they decided to take a break in 2013. However, at the end of last year the band finally decided that break was over. Performing a number of gigs in early 2016, including a pre-sold out show in Athens in February and appearances at DesertFest London and Berlin in April, the band’s full attention now turns to the release of the highly anticipated III. The third instalment in Asteroid’s spectacular ascendancy.

Stream and share the brand new single ‘Last Days’ here – https://soundcloud.com/fuzzoramarecords/02-last-days

Download ‘Last Days’ single by Asteroid via Spotify | iTunes
Asteroid:

Robin Hirse – Vocals/Guitar
Johannes Nilsson – Bass/Vocals
Jimmi Kohlscheen – Drums/Vocals
Track Listing:

1. Pale Moon
2. Last Days
3. Til' Dawn
4. Wolf & Snake
5. Silver & Gold
6. Them Calling
7. Mr. Strange

Artist: Asteroid
Title: III
Release Date: 11th November 2016
Label: Fuzzorama Records
Formats: Vinyl/CD/Digital
Barcode: CD - 7320470211090, LP - 7320470211083
Catalogue: FUZZCD028, FUZZLP028, FUZZDIGI028

Saturday, October 22, 2016

Small Stone Records – Double Take



Over two years ago we featured a “Double Take” review of two records, both residing in Small Stone Records manor. The label has undergone some turmoil since then; including a flooded out basement, some turnover with bands, but what remains is the fact that the bands who call Small Stone home are still ridiculously good. After pre-ordering both these fantastic records on vinyl, I figure I’d bring the feature back. What remains the same is the rawk, what is different is the vinyl are being pressed via Cargo Records in Germany and take the form as an import to the US customers with only 50 available in the US store. Just a fair warning, I still haven’t received either of my pre-orders despite the records being released. Prior SS releases usually showed up on time, if not prior to release for pre-order customers. Minor gripe, but I’m confident the packages will get here eventually and the price remains constant as the US distribution of past. 

Take 1:
Captain Crimson – Remind

Although that couch looks rather uncomfortable it reminds us of the past, the present and the future, namely of rock and roll in the context of this article. Captain Crimson ensures no matter what you rest your weary soul upon the new album sweeps you into a state of comfort popularized by the Swedish retro stoner rawk style. Yes, Captain Crimson are from Sweden as well and prove the water over there does in fact contain minerals fortifying the ability to crank out consistently heavy ass grooves, hot and steamy choruses, and carpet burning bass lines. What impressed me most with the record is how consistently pleasing each song plays through, no filler all killer they say. Intricate riffs such as the opening blaze of ‘Black Rose’, to the dreamy psych-driven ballad of ‘Money’ Remind, reminds us of all states of mind, particularly carrying us away to a more pleasant space and time. The more this album plays the better it gets. Blues licks drip from the retro curtains as the cuckoo riffs clock your walls with nostalgia and vocal harmonies blanket the airwaves like Grandma’s quilt on a foggy morning. Don’t forget the songs structure which paints a pattern of symmetry rivaled by none other than the album cover itself. You must pick it up as on the Small Stone scale Captain Crimson may very well weigh in as the heaviest most deluxe record on the Small Stone shelf in years. Not an immediate grabber, Remind takes its sweet time to slowly infect the listener being able to pull the attention in varied states of mind. Some records only sound good in certain moods. Remind is so powerful it will change your mood from its current state to a state of bewilderment, surely a great record for a weekend gathering, poker night out, early morning highway blaster, or even living room background tunes. Speaking of living room, my flooring needs a retroactive makeover, and the clock is ticking. Come on guys, ship me my vinyl already! I’m dying.


Take 2:

Långfinger - Crossyears



Making their Small Stone debut is the band I just discovered via this pre-order. Långfinger rock the power trio format and come at us from Gothenburg, Sweden which by definition means they bring a heavy retro blues to the game. They’ve been together since they were teens and Crossyears is their 3rd full length album. I was so intrigued, not only by the preview track available that I had to scope out their past discography which fellow revolutionaries gave high recommendations for. I found a killer complete vinyl set available from the band which is always hard to pass up as a record collector and music addict. It’s sitting on my shelf now waiting for Crossyears to find its way home, and boy or boy is it cool. Crossyears maintains the full tilt retro boogie of the early material on their Small Stone showcase. The vocals remain charismatic, utilizing a faintly reverb induced melody crackling with spiritual blues. The riffs are catchy, the songs are dynamic and flow well throughout ranging from 70’s arena rock to blistering heavy blues riddled with solos and packed with rhythmic groove. They remind me a bit of The Who in parts with a more modern stoner edge instrumentally at least. The vocals are damn catchy as are the chorus lines and rhythm section to die for. Anthem after anthem are delivered, averaging around that 3-5 minute classic song length mark for 10 solid songs, with the exception of the blues based scorcher ‘Atlas’ melting the listener for over 7-minutes directly at the midway mark of the album. Acting as a breather between the high energy first half of the record, ‘Atlas’ slow burns Pink Floydian space rock into its retro boogie atmosphere with a healthy dose of the organ, grandiose opening guitar leads and bluesy vocal croonage slowly and elegantly building back and forth between angelic melodies to hot and heady rawk n roll. The album is a stone cold modern classic after it sinks in and demonstrates Långfinger are at the top of their game and are in no position of giving up. Let’s hope the trend continues and Small Stone keeps up the taste they’re known for giving us these random treats every now and then. 

Although Small Stone has appeared to struggle in recent times with perhaps lack of marketing or lost motivation these two records prove that they are still indeed the pioneers and true icons in the heavy underground stoner-rawk scene. You can stream both records as well as all the other releases up at the Small Stone bandcamp page and hurry up if you want to grab a vinyl edition, they won’t likely be repressed anytime soon.  I can attest they are always sexy as fuck!





-The Huntsman





Listen and/or purchase below.






 
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